Comments on: Out of the Past http://www.moviezeal.com/out-of-the-past/ The official podcast of MovieZeal.com, where film is always best discussed under the gentle influence of fine wine (as fine as $10 will get you). Each week Evan, Heather, and Luke pick a theme, discuss a theatrical release based on that theme, pop the cork and drink a wine that fits said theme, and finally subject one another to The Gauntlet, where forcing others to watch painful films nets you fabulous prizes. There is not anything else on the internets like it (literally). Thu, 08 Jan 2009 11:35:23 +0000 http://wordpress.org/?v=2.5 By: Alexander Coleman http://www.moviezeal.com/out-of-the-past/#comment-8842 Alexander Coleman Sat, 16 Aug 2008 02:23:10 +0000 http://www.moviezeal.com/?p=1058#comment-8842 Thank you very much, films noir. I'm quite honored and humbled to have my review so praised by you, as I know you certainly know your stuff, so to speak, haha. That's terrific, too, about your pointing to those two beautifully realized scenes by Tourneur as well. I'm going to have to start looking in at your blog! There are so many gorgeously composed images, and those two moments are compelling testaments to his cinematic fluency. I love that quote from Rafaelle Caputo, paraphrasing Mitchum's entering "the frame." Beautiful, films noir. Thanks again. :) Thank you very much, films noir. I’m quite honored and humbled to have my review so praised by you, as I know you certainly know your stuff, so to speak, haha.

That’s terrific, too, about your pointing to those two beautifully realized scenes by Tourneur as well. I’m going to have to start looking in at your blog! There are so many gorgeously composed images, and those two moments are compelling testaments to his cinematic fluency.

I love that quote from Rafaelle Caputo, paraphrasing Mitchum’s entering “the frame.” Beautiful, films noir. Thanks again. :)

]]> By: films noir http://www.moviezeal.com/out-of-the-past/#comment-8835 films noir Sat, 16 Aug 2008 01:56:36 +0000 http://www.moviezeal.com/?p=1058#comment-8835 The best review of a film noir I have read Alexander. Your total engagement with the film has allowed you to enter "the frame" and explore this wonderful film with erudition and passion. An Australian writer on film, Rafaelle Caputo, has written: "I feel the best way to proceed in the reading of film noir is along a path suggested by [a] line [spoken by Jeff Bailey] from Out of the Past: “All I can see is the frame… I’m going inside to look at the picture”. Caputo’s thesis is that defining a movie as a film noir derives from it a having a “noir sensibility” rather than fitting a predefined template of rules or guidelines: "The film [Out of the Past] opens with exterior shots of an expansive landscape of mountains and forest dissolving into each other while the credits fade-in with each dissolve, until finally there is a dissolve into a stretch of highway with a road sign in the foreground pointing directions and distances for various towns. Into the shot drives a black car, casually travelling into the distance of the frame; then a cut to a travelling-shot from the rear of the car, at an angle over the shoulder of the figure dressed in black behind the steering wheel. The shot knits our point of view with his as we pass another road sign indicating the approaching town of Bridgeport. This shot is maintained until the car pulls into a gas station, but as soon as the car comes to a halt there is an almost immediate cut, still from the same camera position but at a slightly lower angle. The gas station building now takes up most of the screen space, horizontally spilling onto the road from left of frame, and in view atop the building is another sign set off against the clouds which reads ‘Jeff Bailey’. This slight change in camera angle gives the impression of the building jutting out into the car’s diagonal path as though it has forced the black-clad figure of Joe Stefanos to stop abruptly rather than stop by his own volition… " Lastl, they say, great minds think alike ;) - this is what I wrote about Out of the Past in my blog last year: "Ten minutes into Out of the Past, when Jeff picks-up Ann for the trip to Lake Tahoe to meet with Whit, and during which Jeff begins to tell Ann about his mysterious past in flashback, Jeff opens the car door for Ann, and while he moves to the driver side and takes the wheel, the director, Jacques Tourneur, frames Ann alone inside the divided windscreen of the car for a full 10 seconds. It is early morning and the scene is dark with foreboding, as Jeff’s past races to catch up with him. By framing Ann alone in the car, with the dividing upright of the car windscreen closing the frame and excluding Jeff from the scene, Tourneur precisely conveys the relationship as doomed. This is a master craftsman at work." "Near the end of Jacques Tourneur’s classic noir, Out of the Past (1947), there is a scene that must be one of the greatest compositions in American cinema. The lighting, and the placement of the central elements, from the sofa on which Robert Mitchum rests his hand to the archway that frames Jane Greer, is brilliant. The femme fatale, Kathie Moffat, is framed in the dark background, while Jeff Bailey is highlighted in the foreground. The elemental contrast between good and evil is perfectly balanced, with the natural perspective of the lens emphasising the distance between the two protagonists. The window lattice shadow falling across the floor in the background behind Kathie enforces the perspective established by the lighting and placement of the actors. To complete the tension Kathie is clothed in saintly garb and presents a demure demeanour." The best review of a film noir I have read Alexander. Your total engagement with the film has allowed you to enter “the frame” and explore this wonderful film with erudition and passion.

An Australian writer on film, Rafaelle Caputo, has written: “I feel the best way to proceed in the reading of film noir is along a path suggested by [a] line [spoken by Jeff Bailey] from Out of the Past: “All I can see is the frame… I’m going inside to look at the picture”.

Caputo’s thesis is that defining a movie as a film noir derives from it a having a “noir sensibility” rather than fitting a predefined template of rules or guidelines:

“The film [Out of the Past] opens with exterior shots of an expansive landscape of mountains and forest dissolving into each other while the credits fade-in with each dissolve, until finally there is a dissolve into a stretch of highway with a road sign in the foreground pointing directions and distances for various towns. Into the shot drives a black car, casually travelling into the distance of the frame; then a cut to a travelling-shot from the rear of the car, at an angle over the shoulder of the figure dressed in black behind the steering wheel. The shot knits our point of view with his as we pass another road sign indicating the approaching town of Bridgeport. This shot is maintained until the car pulls into a gas station, but as soon as the car comes to a halt there is an almost immediate cut, still from the same camera position but at a slightly lower angle. The gas station building now takes up most of the screen space, horizontally spilling onto the road from left of frame, and in view atop the building is another sign set off against the clouds which reads ‘Jeff Bailey’. This slight change in camera angle gives the impression of the building jutting out into the car’s diagonal path as though it has forced the black-clad figure of Joe Stefanos to stop abruptly rather than stop by his own volition… ”

Lastl, they say, great minds think alike ;) - this is what I wrote about Out of the Past in my blog last year:

“Ten minutes into Out of the Past, when Jeff picks-up Ann for the trip to Lake Tahoe to meet with Whit, and during which Jeff begins to tell Ann about his mysterious past in flashback, Jeff opens the car door for Ann, and while he moves to the driver side and takes the wheel, the director, Jacques Tourneur, frames Ann alone inside the divided windscreen of the car for a full 10 seconds. It is early morning and the scene is dark with foreboding, as Jeff’s past races to catch up with him. By framing Ann alone in the car, with the dividing upright of the car windscreen closing the frame and excluding Jeff from the scene, Tourneur precisely conveys the relationship as doomed. This is a master craftsman at work.”

“Near the end of Jacques Tourneur’s classic noir, Out of the Past (1947), there is a scene that must be one of the greatest compositions in American cinema. The lighting, and the placement of the central elements, from the sofa on which Robert Mitchum rests his hand to the archway that frames Jane Greer, is brilliant. The femme fatale, Kathie Moffat, is framed in the dark background, while Jeff Bailey is highlighted in the foreground. The elemental contrast between good and evil is perfectly balanced, with the natural perspective of the lens emphasising the distance between the two protagonists. The window lattice shadow falling across the floor in the background behind Kathie enforces the perspective established by the lighting and placement of the actors. To complete the tension Kathie is clothed in saintly garb and presents a demure demeanour.”

]]> By: Alexander Coleman http://www.moviezeal.com/out-of-the-past/#comment-8385 Alexander Coleman Wed, 13 Aug 2008 15:15:22 +0000 http://www.moviezeal.com/?p=1058#comment-8385 Thanks, Ari (sorry I goofed in not saying your name earlier), Lou and Frank. No, Frank, I'm a little flattered--as recently as just a couple months back I was still arguing with my college film professor about Kurosawa and other things, as Sam knows all too well, haha. Thanks, Ari (sorry I goofed in not saying your name earlier), Lou and Frank. No, Frank, I’m a little flattered–as recently as just a couple months back I was still arguing with my college film professor about Kurosawa and other things, as Sam knows all too well, haha.

]]> By: Frank Aida http://www.moviezeal.com/out-of-the-past/#comment-8251 Frank Aida Tue, 12 Aug 2008 22:16:47 +0000 http://www.moviezeal.com/?p=1058#comment-8251 I saw this one, Sam. It is a terrific movie, I liked Robert Mitchum. Is this guy who wrote this a film professor or something? I saw this one, Sam. It is a terrific movie, I liked Robert Mitchum. Is this guy who wrote this a film professor or something?

]]> By: Kristena http://www.moviezeal.com/out-of-the-past/#comment-8208 Kristena Tue, 12 Aug 2008 18:48:22 +0000 http://www.moviezeal.com/?p=1058#comment-8208 I watched this last night with Evan, and it is simply fantastic. It doesn't miss a beat. And, yes, Jane Greer is about as evil (with a capital EVE) as they come. I'm thankful that Ann was there to bring balance to the film. I watched this last night with Evan, and it is simply fantastic. It doesn’t miss a beat. And, yes, Jane Greer is about as evil (with a capital EVE) as they come. I’m thankful that Ann was there to bring balance to the film.

]]> By: Lou A. http://www.moviezeal.com/out-of-the-past/#comment-8206 Lou A. Tue, 12 Aug 2008 18:44:21 +0000 http://www.moviezeal.com/?p=1058#comment-8206 Wow a review that never ends. The author poured his heart and soul into this, it's miraculous. Wow a review that never ends. The author poured his heart and soul into this, it’s miraculous.

]]> By: Phillip Johnston http://www.moviezeal.com/out-of-the-past/#comment-8188 Phillip Johnston Tue, 12 Aug 2008 11:47:39 +0000 http://www.moviezeal.com/?p=1058#comment-8188 I watched this last night too and was equally impressed. I thought the juxtaposition of the darkness and dirt of the city with the serene and peaceful countryside was extremely effective. But man-oh-man ... that Jane Greer is a looker. And so evil. I watched this last night too and was equally impressed. I thought the juxtaposition of the darkness and dirt of the city with the serene and peaceful countryside was extremely effective.

But man-oh-man … that Jane Greer is a looker. And so evil.

]]> By: Alexander Coleman http://www.moviezeal.com/out-of-the-past/#comment-8159 Alexander Coleman Tue, 12 Aug 2008 04:28:06 +0000 http://www.moviezeal.com/?p=1058#comment-8159 Thank you very much for the remarkably kind words, Paul and Peter M. Evan, <i>Out of the Past</i> has that ability to knock you out and blow you away, as it evidently did to you. It is a perfect film and, believe me, you will be finding new things of all kinds with greater layers, depths and meanings every time you see it. Thank you very much for the remarkably kind words, Paul and Peter M.

Evan, Out of the Past has that ability to knock you out and blow you away, as it evidently did to you. It is a perfect film and, believe me, you will be finding new things of all kinds with greater layers, depths and meanings every time you see it.

]]> By: Evan Derrick http://www.moviezeal.com/out-of-the-past/#comment-8155 Evan Derrick Tue, 12 Aug 2008 03:53:23 +0000 http://www.moviezeal.com/?p=1058#comment-8155 Just watched this for the first time. Unbelievable. Sam, in the midst of your frustrations with the star ratings for <i>Maltese Falcon</i> and <i>Double Indemnity</i>, I think you asked, "What gets 5 stars?" Or G asked that. I don't remember. :) Well, this one gets 5 stars. Absolutely stunning picture, a kick to the gut, and easily <i>the</i> most wicked femme fatale in all of noir. I skimmed Alexander's piece when I formatted it for the site. I'll have more to say tomorrow after I've had a chance to read his voluminous critique with a fresh pair of eyes. Amazing, amazing film. Just amazing. Just watched this for the first time. Unbelievable. Sam, in the midst of your frustrations with the star ratings for Maltese Falcon and Double Indemnity, I think you asked, “What gets 5 stars?” Or G asked that. I don’t remember. :) Well, this one gets 5 stars. Absolutely stunning picture, a kick to the gut, and easily the most wicked femme fatale in all of noir.

I skimmed Alexander’s piece when I formatted it for the site. I’ll have more to say tomorrow after I’ve had a chance to read his voluminous critique with a fresh pair of eyes.

Amazing, amazing film. Just amazing.

]]> By: Peter M. http://www.moviezeal.com/out-of-the-past/#comment-8137 Peter M. Mon, 11 Aug 2008 23:11:26 +0000 http://www.moviezeal.com/?p=1058#comment-8137 This is quite a celebration of this famous film, and I must issue strong commendation to the writer, Mr. Coleman. I never would have thought that a short film like this could warrant such a spirited consideration. But, yes, this a classroom study in movie academia. This is quite a celebration of this famous film, and I must issue strong commendation to the writer, Mr. Coleman. I never would have thought that a short film like this could warrant such a spirited consideration. But, yes, this a classroom study in movie academia.

]]> By: Paul http://www.moviezeal.com/out-of-the-past/#comment-8133 Paul Mon, 11 Aug 2008 22:46:43 +0000 http://www.moviezeal.com/?p=1058#comment-8133 you're right Sam, this is beyond a movie review. But if any film noir deserves this kind of a massive examination, Out of the Past is the one. There's so much here to talk about. Super work here. you’re right Sam, this is beyond a movie review. But if any film noir deserves this kind of a massive examination, Out of the Past is the one. There’s so much here to talk about. Super work here.

]]> By: Sam Juliano http://www.moviezeal.com/out-of-the-past/#comment-8107 Sam Juliano Mon, 11 Aug 2008 17:53:24 +0000 http://www.moviezeal.com/?p=1058#comment-8107 Only GHOST SHIP and THE SEVENTH VICTIM come within hailing distance of I WALKED WITH A ZOMBIE, in complete artistry among Lewton's films, but I agree Ari, that one is tops, and I have watched it endlessly through my life---the trip through the cane reeds by the two woman--is a model of poetry on screen--and the Calypso singer, Sir Lancelot provides Greek Chorus-like context. I have a lifelong weakness for THE BODY SNATCHER, CAT PEOPLE and ISLE OF THE DEAD (that short segment with the rattling coffin amidst the pattering wind, while a woman interred still lives, is among cinema's most terrifying moments) But I don't mean to draw any attention from Alexander's magnificent review, which is the catalyst of this thread, only to provide connecting anecdotes. Only GHOST SHIP and THE SEVENTH VICTIM come within hailing distance of I WALKED WITH A ZOMBIE, in complete artistry among Lewton’s films, but I agree Ari, that one is tops, and I have watched it endlessly through my life—the trip through the cane reeds by the two woman–is a model of poetry on screen–and the Calypso singer, Sir Lancelot provides Greek Chorus-like context.
I have a lifelong weakness for THE BODY SNATCHER, CAT PEOPLE and ISLE OF THE DEAD (that short segment with the rattling coffin amidst the pattering wind, while a woman interred still lives, is among cinema’s most terrifying moments)
But I don’t mean to draw any attention from Alexander’s magnificent review, which is the catalyst of this thread, only to provide connecting anecdotes.

]]> By: Ari http://www.moviezeal.com/out-of-the-past/#comment-8105 Ari Mon, 11 Aug 2008 17:38:41 +0000 http://www.moviezeal.com/?p=1058#comment-8105 It is indeed a special movie. Great review. And Tourneur is underrated. I Walked With a Zombie is the best of those Val Lewton horror films. For a "b movie", it's pretty damn well-crafted and genuinely atmospheric. And I love how Kirk Douglas started with supporting roles in some great noir/mystery/gangster films. Out of the Past, The Strange Love of Martha Ivers, I Walk Alone. What a legend. It is indeed a special movie. Great review. And Tourneur is underrated. I Walked With a Zombie is the best of those Val Lewton horror films. For a “b movie”, it’s pretty damn well-crafted and genuinely atmospheric. And I love how Kirk Douglas started with supporting roles in some great noir/mystery/gangster films. Out of the Past, The Strange Love of Martha Ivers, I Walk Alone. What a legend.

]]> By: Alexander Coleman http://www.moviezeal.com/out-of-the-past/#comment-8095 Alexander Coleman Mon, 11 Aug 2008 15:14:48 +0000 http://www.moviezeal.com/?p=1058#comment-8095 Thank you quite sincerely, Sam and Phillip. This is simply one of my favorite films of all time, and I do not believe I fully did it justice. With this, I realized what Peter Jackson meant about working on his films before their release, when he said you're never finished, you just have to stop and turn it in. Not exactly the same scale of working on something, but a truism to keep in mind. Phillip, if you have never seen <i>Out of the Past</i> before, I actually envy you. I will always remember my first viewing of the film--the first of <i>many</i>--and finding it to be nothing short of revelatory in every way. You're right about <i>Curse of the Demon</i>, Sam; I simply named his horror highlights before <i>Out of the Past</i>. Tourneur, what a masterful filmmaker. Thank you quite sincerely, Sam and Phillip.

This is simply one of my favorite films of all time, and I do not believe I fully did it justice. With this, I realized what Peter Jackson meant about working on his films before their release, when he said you’re never finished, you just have to stop and turn it in. Not exactly the same scale of working on something, but a truism to keep in mind.

Phillip, if you have never seen Out of the Past before, I actually envy you. I will always remember my first viewing of the film–the first of many–and finding it to be nothing short of revelatory in every way.

You’re right about Curse of the Demon, Sam; I simply named his horror highlights before Out of the Past. Tourneur, what a masterful filmmaker.

]]> By: Phillip Johnston http://www.moviezeal.com/out-of-the-past/#comment-8089 Phillip Johnston Mon, 11 Aug 2008 14:42:29 +0000 http://www.moviezeal.com/?p=1058#comment-8089 <i>Of course the downside of this is that it does place undue pressure on the writers of the remaining essays, setting a daunting “bar” that will require maximum effort and then some to match.</i> You got that right. Sheesh. Great job, Alexander. I plan on watching this tonight. Of course the downside of this is that it does place undue pressure on the writers of the remaining essays, setting a daunting “bar” that will require maximum effort and then some to match.

You got that right. Sheesh.

Great job, Alexander. I plan on watching this tonight.

]]> By: Sam Juliano http://www.moviezeal.com/out-of-the-past/#comment-8085 Sam Juliano Mon, 11 Aug 2008 14:01:09 +0000 http://www.moviezeal.com/?p=1058#comment-8085 Alexander's marathon essay here is a veritable "home run" of analytical dissection, within the broad framework of film noir as an art form. I would be loathe to imagine that the treatment of any film (in any genre, for that matter) could exhibit this kind of tireless construction and "no stone unturned" examination. Hence, this "review" is nothing of the sort--it is a "thesis," a "term paper," a final project for a film class, meant to coax the Professor into given the writer the highest grade for the course. Of course I don't say this facetiously, but to pile on the praise for Mr. Coleman, who for all intents and purposes has outdid himself here, easily trumping work he did a few months back on a Jean-Luc Godard masterwork, CONTEMPT. Of course the downside of this is that it does place undue pressure on the writers of the remaining essays, setting a daunting "bar" that will require maximum effort and then some to match. I can't really "add" anything except to point out that the esteemed Mr. Tourneur also directed a superlative 1950's horror film (which nearly matched his I WALKED WITH A ZOMBIE)called CURSE OF A DEMON...a.k.a...NIGHT OF THE DEMON)a film that similarly showcases brooding atmosphere and evocative visual elegance. There is so much here to praise; I frankly don't exactly know what to point my attention to. I like the description of Moffat as "the most poisonous and lethal of all femme fatales, her avarice unquenchable, her ruthlessness unsurpassed." The entire argument that Robert Mitchum was the only man for the role is irrefutable for the reasons elaborated on. "The tragic inevitability of Markham's past revisiting him and pulling him back from this time and place is perhaps the quintessence of film noir." Wonderful assertion. "Nicholas Musaraca's chiaroscuro lighting is mesmeric." Indeed--it is surely what makes this film in a visual sense, the spellbinding one that it is, at the fear of playing rhetorical semantics. I loved the paragraph where the socio-political implications are brought in, and the tie-in to the literary works of Hemingway, Faulkner and Dos Passos, and the rightful acknowledgement of a composer I myself revere--Roy Webb, (his Lewton work is unsurpassed) Alexander likens his chords to "loveliness--tragic despondance." So true! The "reverie.........ballad...." windup perfectly concludes this magisterial piece. "Mr. Coleman, please come up to the front of the film class and take back your semester thesis. You have been given an A+" Class gives a rousing applause. Alexander’s marathon essay here is a veritable “home run” of analytical dissection, within the broad framework of film noir as an art form. I would be loathe to imagine that the treatment of any film (in any genre, for that matter) could exhibit this kind of tireless construction and “no stone unturned” examination. Hence, this “review” is nothing of the sort–it is a “thesis,” a “term paper,” a final project for a film class, meant to coax the Professor into given the writer the highest grade for the course. Of course I don’t say this facetiously, but to pile on the praise for Mr. Coleman, who for all intents and purposes has outdid himself here, easily trumping work he did a few months back on a Jean-Luc Godard masterwork, CONTEMPT. Of course the downside of this is that it does place undue pressure on the writers of the remaining essays, setting a daunting “bar” that will require maximum effort and then some to match.
I can’t really “add” anything except to point out that the esteemed Mr. Tourneur also directed a superlative 1950’s horror film (which nearly matched his I WALKED WITH A ZOMBIE)called CURSE OF A DEMON…a.k.a…NIGHT OF THE DEMON)a film that similarly showcases brooding atmosphere and evocative visual elegance.
There is so much here to praise; I frankly don’t exactly know what to point my attention to.
I like the description of Moffat as “the most poisonous and lethal of all femme fatales, her avarice unquenchable, her ruthlessness unsurpassed.”
The entire argument that Robert Mitchum was the only man for the role is irrefutable for the reasons elaborated on.
“The tragic inevitability of Markham’s past revisiting him and pulling him back from this time and place is perhaps the quintessence of film noir.” Wonderful assertion.
“Nicholas Musaraca’s chiaroscuro lighting is mesmeric.” Indeed–it is surely what makes this film in a visual sense, the spellbinding one that it is, at the fear of playing rhetorical semantics.
I loved the paragraph where the socio-political implications are brought in, and the tie-in to the literary works of Hemingway, Faulkner and Dos Passos, and the rightful acknowledgement of a composer I myself revere–Roy Webb, (his Lewton work is unsurpassed) Alexander likens his chords to “loveliness–tragic despondance.” So true!
The “reverie………ballad….” windup perfectly concludes this magisterial piece.
“Mr. Coleman, please come up to the front of the film class and take back your semester thesis. You have been given an A+” Class gives a rousing applause.

]]>