Compare & Contrast Outline for Presentation

Goldeneye Vs. Gilda

  • Both of these films were obviously made during different time periods.

o   Gilda: 1946 (World War II)

o   Goldeneye: 1995

  • What makes these films “Noir-ish?”

o   The film Gilda is centered around 2 gentlemen caught between a love triangle of a beautiful woman named Gilda and money illegally made from an illegal gambling casino.

o   Goldeneye is a film about powerful satellite weapon of mass destruction that falls into the hands of James Bond’s of a villain who turns out to be Bond’s best friend whom he thought was killed right in front of him at the beginning of the film. Bond battles him and his beautiful ally, Xenia Onatopp.

  • My Main Topic of Focus will be on the centralized women of both of these films.

o   While I do not want to discredit any of the other characters in the films, there is so much to be said about the women in both films and their sexuality.

  • The way both women dress
  • The way they move, their facial expressions, and every single annoying seductive ways about them that they use to manipulate the men around them.
  • The manipulation of these men drives both respective films into a bit of an engine of chaos.
  • The Clean Slick Look of the Men and the parting of their Hair.

o   Compare James Bond Character vs. Johnny Farrell

o   Compare each men’s wardrobe


o   One of the many similarities that I found regarding both films were their use of casinos and the almost identical use of their characters in the way they dress:

  • Men in classic Black and White Tuxedo dress.
  • Both Gilda and Xenia look very seductive but a difference is that Gilda is wearing white suggesting a much bigger hint of innocence.
  • Xenia Wearing black in casino and really all throughout the film makes her seem quite a bit more sadistic and suggests that she’s obviously got a very edgy and sexy appeal to the audience.
  • The makeup of both women is also very similar with a bright dark red lipstick to highlight their lips.
  • Gilda has her hair down all throughout the film giving her more of a classy look.
  • Xenia has her hair tied up all throughout the film suggesting that she’s always READY TO GO and get dirty—maybe? J
  • Both Goldeneye and Gilda feature some pretty big surprises although both scenes occur at entirely different times:

o   In Gilda, we think that Mr. Munson kills himself and dies in a plane crash. However, at the end of the film, he shows up again and to our main characters it is a massive surprise and they feel as though they have seen a ghost!

o   In Goldeneye, James Bond thinks that his best friend and partner, Trevelyan (006), is killed right before him! But obviously not!!!!

  • Both films contain PLANE Crashes but in entirely different contexts.
  • Discuss Lighting Angles & Camera Shots
  • Both films obviously contain violence but much more in Goldeneye.
  • Both films have a love story.

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Rough Outline for Pitch

TH rough outline of key scene / pitch for 5 minute or less scene. What would be in it and flesh it out.


What if there was a man  who JUST got killed and the murderer was a  woman. She is caught doing it, and detectives chase her in this long fleshed out chase scene, and we as an audience don’t know if she got away or not.

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Compare and Contrast Essay

Noir films have a very distinct feel about them. Whether it may be the black and white tint or the use of intense lighting and shadows, these films provide a different look on cinema. Comparing and contrasting two crime films from different decades gave me a unique way of interpreting how time has changed this genre and what we might be able to expect in the future of noir films.

The first film I watched, Touch of Evil, released in 1958, follows the story of a recently married couple on their honeymoon. While Mike, the main character, gets tied up in his work life, he leaves his wife, Susie, unattended who eventually gets kidnapped by his enemies. The second film, The Man Who Wasn’t There, released in 2001, tells quite a different crime story. The main character, Ed, lives a very quiet life with his wife Doris. From the beginning, you can tell something is going on with her and her boss Dave. This doesn’t seem to really bother Ed and he even states, “it’s a free country, she can do whatever she wants.” This laid back attitude he has is prominent throughout the film. After a business deal goes bad, Ed has no choice to kill her boss but she ends up going to jail for it. Both of these films fall under the genre of crime noir films even though there is little similar about them.

Often when you think of crime films, you think of a lot of action, blood, fighting, and even death. In Touch of Evil you definitely get a good amount of this. At the four-minute mark, the audience is already exposed to a car explosion and two deaths. This immediately adds suspense to the movie because of how early we are exposed to the action. This then carries on throughout the movie. The way this opening scene all allows to set the tone for crime gives the audience an idea of all that they can suspect from the rest of the movie. Unlike The Man Who Wasn’t There, there is little to no action throughout the movie. The first bit of crime we are exposed to is at the forty-minute mark where Ed kills the boss Dave. This scene goes into great detail and spends quite a bit of time showing the death. The audience at this point is finally exposed to some action with the stabbing and struggling of Dave bleeding out. While this scene appears about half way through the film, it is the only bit of action we see. This is also the only point in which we see Ed, the main character, reacting to a situation. This fighting scene is so significant because it compares so easily to the fight scene in Touch of Evil, at the seventy-three-minute mark the main fight scene begins. Similar to the other fight scene, this action provides the audience with an extreme feeling of suspense. With quick cuts and the use of lighting and shadows, this bit of action sets the tone for the rest of the movie. The quick cuts, as discussed in class, is an extremely beneficial way to film a fight scene. Both of these films did a great job of really setting the tone of this crime scene. This is one of the few ways these films seemed to be achieving the same idea of suspense.

Although these two films were released about fifty years apart from each other, they share more similarities in sets than you would think. Throughout Touch of Evil, the ability to use lighting and shadows adds to the idea that they are living in a very dark and dim time. For example, the way the shadows always seem to be covering Captains face and features allow him to put off a mean and dark persona. This is then prominent when little to no shadows are shown on Susie, who is kind and always adding a sense of humor. This is as well seen in The Man Who Wasn’t There. Ed, a very laid back man who is always seeming to keep to himself, has very little to no shadows on his face making him seem very unthreatening. His face is constantly being lit up with natural high lighting, similar to Susie’s. Contradicting this, boss Dave’s face is often covered with shadows similar to Captain’s.

Contradicting the similarities in lighting, the sets were extremely different. While Touch of Evil primarily took place at the night time, or at least portraying the look of night, it added to the idea of suspense and a scary feeling. This fit the film well because of the amount of action, crime, and suspense being portrayed throughout. This set would not have fit the idea for The Man Who Wasn’t There because of it happening mostly during the day with little to no action scenes. Besides the fight scene mentioned above, there was no significance or draw to the idea that this was even a crime movie. Therefore, the constant light with no shadows supports the idea that the audience will not be startled with a sudden car explosion or death like in the other movie.

The idea of suspense was also prominent throughout Touch of Evil because of the use of background music. Similar to horror movies, background music often gets louder when something intense is about to happen. As well in action movies, this music would often get louder before Ed was about to make a move, before Captain would get angry, and before fight scenes. Contradicting this idea of suspense, there was little to no music being played in the background of The Man Who Wasn’t There and instead there was a voice over of Ed throughout the entire movie. Because he never seemed to really get angry or upset about things, his soothing voice never seemed to add suspense to the film or give off the idea something was about to happen.

Character portrayal is extremely prominent in both of these films. As previously mentioned in class, the idea that women are seen as sexual objects for their men are both obvious in these films. In Touch of Evil, Susie waits for her husband to get done with his work in a hotel room. Not only is she sitting and waiting, but she awaits in revealing underwear. She doesn’t go off on her own but instead stays waiting for his arrival. This idea portrays the idea that she lives for her man and that’s it. This is relevant in The Man Who Wasn’t There as well because of Doris working for the undergarment company. The first time the audience is exposed to her, she is lying seductively on the bed, pulling up her stockings. It is obvious her man is there and that she is trying to turn him on. These images the women portray carry on throughout the movie in different scenes. The way these women are shown so similar in both films reiterate the idea that women are shown sexually for the pleasure of men.

As previously mentioned, it is apparent how these two films have quite a bit in common but even more not. Whether it may be the fifty year difference of the story line, these two films both take crime noir films and go in different directions. Not saying one way is better than the other, but their similarities and differences are obvious. From the sets and lighting, to the characters motives, the films both touch base on the idea of what it takes to supply the audience with the right amount of suspense needed for their stories. I found the way the shadows highlighted the characteristics of each character a neat way to portray their image. This idea is not often seen in cinema anymore. I think this allows the audience to have a different perspective of what makes each character unique and induvial without only relying on their actions to do so. As well as the use of shadows and lighting to portray the characters motives, both films use the women to give off a sexual persona. The women in both films are quite similar in the sense that they wear extremely revealing clothes and are seen by all men in a way that shows them to be living only for their well-being. I really enjoyed comparing these two films and contrasting what they both have to offer. Because they were both released in different decades, it was fascinating to see how this specific genre had changed over time, and they stayed the same. It is obvious that lighting, character portrayal, and the use of sets allows these two stories to go in two completely different directions yet stay similar at the same time.


Touch of Evil scenes referred to:

The Man Who Wasn’t There scenes referred to:

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Blog Post 4

The film, Unforgiven, despite being mainly a Western, has some undeniable elements that are very characteristic of many of the previous noirs we’ve watched throughout the semester. Probably the most notable of all of these elements is the main male character and our protagonist, William Munny. Like some other noir films, this film illustrates Munny at his present day self portraying a bit of wisdom that he’s obtained over time through some pretty tough experiences aided by the guilt of his conscience. The film reveals his dark past with murder, violence, and stealing. After the passing of his wife, he vowed to never get involved with any of that nonsense ever again. Later in the beginning of the film, a young man rides up on Munny’s hog farm property and engages to ask for his help to kill Mike for substantial reward money that the prostitutes raised after Mike’s assault against Delilah was only punished by giving up horses from Sheriff Little Bill. Munny.  Upon being fronted about the bounty reward opportunity by Kid, Munny immediately denies wanting to be a part given the guilt of his past and wanting to be a better man for his family after making a promise to himself after his wife’s passing that he would never get involved with anything like that again.  After first rebutting Kid’s offer, Munny invites him inside his home and begins to rethink the offer before Kid eventually leaves. After Munny comes to the realization that he needs the money, he comes to his senses and rides out to find his old partner Ned Logan to help him go look after Kid to help him complete the bounty. However, even after he meets up with Ned, he expresses to him at the 29:40 mark that his past wife, Claudia, affected him in such a way that he didn’t want to be a part of those old habits anymore. The darkness of lighting where we struggle to see Munny in this scene helps us as an audience to be able to identify with Munny’s internal struggle of his past sins and not wanting to turn back to them. He further states that even though he is going to be participating in this bounty hunt, it does not mean that he will be turning back into that lifestyle, he’s just doing for the money.  This is a crucial part that is often typical of the noir male characteristics in that these men struggle with their identity of their new self wanting to overcome the sins of their old self which remains a constant struggle throughout the film up until the end of the movie when Munny goes on his little rampage at the saloon.

Now, when you have an old and gritty, seasoned character like Munny, Braudy brings up to discussion the creation of new ideas to be implemented in what “preexisting audiences” have originally expected and have seen in previous films. Braudy talks about this in the first paragraph of his exceprt about how films have previously created their “classic” elements but it starts to get fun when one begins to create their “own special audience” by extending the bar a bit further so to speak. In Unforgiven, this notion is easily noticed by taking the elements of classic Westerns and even a classic Western character such as Clint Eastwood and adding a bit of noir elements to the film such as the struggling internal conflict of Munny, the violence throughout the film, and the inclusion of the sensitive subjects of how horrible women were treated at those times



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Blog Post 4

While connecting the film Unforgiven to the reading by Rick Altman covering genre, it is easy to see how this reassures this category of westernized films. Genre, as mentioned in the reading, can be identified as blueprint, structure, label, and contract of a film. Although this is prominent in the reading published recently, it still relates back to 1992 when Unforgiven was released. Genre plays a key role in deciphering how films are shown and how the viewers may relate. While the previous films we have watched in class primarily fall under the genre of romance or violence, this specific one was primarily western leaving only a few similarities to the others. It seems like this was the case for most noir films at the time. Dating back to the time majority of these films were being released, it was often rare to not see some sort of violence being portrayed whether it was in the city or in the middle of no-where. Because of the relevance between genre at this time, it shows how these noir films all relate in a similar way, whether that may be violence in a western setting or crime in the city. Genre was a key term at this time and remains a key element within the greater category of film noir. Relating different genres while still tying together the main focus and purpose of these films is what makes them so unique at the time.

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Post 4

Upon watching Unforgiven, I noticed several different film noir elements which added to the uncommon and interesting genre of the “western noir”. One is the typical hard-boiled main character of William Munny. He is a gruff, gritty old guy who lives by a set of morals (up until the end anyway), reminiscent of Sam Spade in The Maltese Falcon. Another element is the sense of hopelessness which is common within film noir. I argue that the sense of hopelessness and despair doesn’t truly reveal itself until the end of the film when Munny kills the people in the saloon. Up until this point, he had lived by the set of morals his dead wife had instilled in him, but after killing those five people, he is irredeemable. The audience feels the hopeless futility in this fact. Such film noir elements being incorporated into a western genre allows for a whole new set of ideas to be brought forth in a western context. Braudy says that “the joy in genre is to see what can be dared in the creation of a new form or the creative destruction and complication of an old one” (666). With the addition of film noir elements, Unforgiven broaches the topic of unrestrained abuse of women by cowboys in the 1800s, something that other westerns didn’t revolve around as this one did. In this way, Unforgiven is able to build off the basis of a typical western and add an extra layer delving into contemporary issues while still within the Old West.

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Noir Scenes

One scene from Double Indemnity is the beginning scene where we see Walter Neff collapsed in his office chair, dictating the details of his crime, while he is bleeding out from a gunshot wound. This scene embodies noir elements because it strongly employs the sense of hopelessness and despair, since Neff is dying, and also employs the flashbacks (through his dictation) which are so common in film noir.

Another scene is from Layer Cake where Morty cruelly beats up Freddie. The “violent death” is a common trope of film noir and this is definitely a violent act, as he viciously beats him to the ground and then pours boiling-hot tea over him.

A story involving a corrupt detective and how his protege uncovers his scheming in a shadowy crime-filled city.

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Film Aspects “Third Man”

What single scenes from the films we’ve seen have most embodied the aspects of noir, and why?

In The Third Man we see the ‘formal characteristics of noir’ represented throughout the film so much it becomes a part of the narrative. The camera works with multiple angles and challenges the effect that light has when unveiling something the audience does not expect. The film really presents these aspects during several chase scenes. In the scene where Holly Martins finds Harry to be alive, he finds out at the same moment the audience does. The audience does not learn any information before, or at least nothing that hinted at Harry being alive, so they didn’t know it was coming. In particular, the lighting that was chosen to unveil the surprise of Harry’s status of life went from only being able to see his feet and everything else black going to a bright light directly on his face.

In another scene Holly Martins is running from two men and a parrot, going out of a window, across destroyed buildings, and under a bridge/tunnel. The camera angles during this support the idea that there is a chase going on, however other than that there is no actual correlation between the shots. It is up to the audience to assemble between the cuts and decide where the characters are in place.


Some men will do anything for a buck or a lay.


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Production Workshop: Development

I think it would be interesting to look into the noir element of hopelessness. In Layer Cake, the protagonist does everything in his power to get himself out of the drug business and just when he thinks he has cut himself loose from that world, he is shot. Similarly in The Asphalt Jungle, Dix only wants to get out of the city and back to Kentucky but as soon as he gets there, he dies. The ending of Touch of Evil has a similar feel when Tanya says that Hank was “some kind of man… What does it matter what you say about people?” and earlier when she tells him his “future’s all used up.”

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In-Class Noir-ish scenes

Notes: Key concepts embodied in Noir. Corruption, Hopelessness, Femme Fatale, etc.

The noir film, Gilda, has definitely been my favorite of all the films, thus far. Gilda is the classic female character that the film centers around. She takes full advantage of her looks to create sexual tension and manipulation of the men around her to get what she wants. In some cases, you can’t even really tell if that’s really what she wants or if she just enjoys creating the thrill of chaos. The flirtation of her dancing with other men to make the 2 main male characters jealous and the spotlight that seems to be around her while the rest of the scene is dark.

In the Touch of Evil the corruption aspect of the film regarding the scene when Quinlan used the empty shoe box to frame Sanchez was really fascinating in a number of ways. The angle and lighting of that particular scene catapulted the importance of the scene.

ONE SENTENCE: The devil is a beautiful woman in a red dress.

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