By Roger Ebert
Occasionally there's simply not anything extra soaking up than gazing a film that actually seems to be at existence at the darkish facet, revealing these darkish components of human nature that we discover so facinating. In Roger Ebert's choices of 27 videos from the darkish aspect, he bargains a diversified choice from a glance on the seamy aspect of lifestyles in L.A. in Chinatown to a backwoods homicide long gone incorrect in Blood basic. Throw in classics from Alfred Hitchcock, infamous and Strangers on a teach, and French excursions de strength, Bob le Flambeur and Touchez Pas au Grisbi and you've obtained the primer on movie noir.
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It becomes a virtual synecdoche for the entire city of New York: ranging from Tiffany’s to the Fifth Avenue Branch of the New York Public Library. ” Within this notion of New York City and the centrality of Fifth Avenue, the ﬁlm’s use of the Central Park band shell raises a profound insight into modern urban life. The scene in question breaks markedly in tone with the rest of the ﬁlm. ” Determined to uncover the man’s identity, he leaves the apartment and walks toward Central Park to see if the man will follow him.
What if the public that should be having a good time is absent, not just physically and momentarily, but in a deeper, more emblematic way? What if, for the moment, the public space is abandoned—a mere shell of its designated social function? What if New York as a thriving model of social vitality is suddenly erased? After the explosion in urban populations following the Industrial Revolution, urban designers, attempting to compensate for the potentially isolating and alienating fragmentation of modern urban life, designed natural sites like Central Park into cities so that people might seek solace from and alleviate the cramped pressures of modern life.
Its main purpose is to capture the city (in both senses of the word “capture”). The public spaces of Times Square and Coney Island are the sites for its balletic interludes. The bustle and compressed sprawl of the city is the kaleidoscopic precondition for the narrative action; it seduces its ostensible seducers. On the Town is the exemplary narrative of arrival. Using the language of Gilles Deleuze, one could regard narratives of arrival as emblematic movementimages, as protagonists explore and possess a set of new spaces.