Phyllis : There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter Neff : How fast was I going, officer?
Phyllis : I'd say around ninety.
Walter Neff : Suppose you get down off your motorcycle and give me a ticket.
Phyllis : Suppose I let you off with a warning this time.
Walter Neff : Suppose it doesn't take.
Phyllis : Suppose I have to whack you over the knuckles.
Walter Neff : Suppose I bust out crying and put my head on your shoulder.
Phyllis : Suppose you try putting it on my husband's shoulder.
Walter Neff : That tears it.
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they don't write em like they used to
Entire script is one zinger after another. Classic movie is classic
>Most acutely, the femme fatale is an emblem of whiteness that has fallen from its perch of power into the morass and complications of a racialized darkness that speaks as much to the fear of women in control of their own destinies as it does to a fear specifically of the kind of wanton sexuality and boundary breaking that white America associates with women of color, particularly Black women. So when, in the closing moments of her arc, Phyllis is drenched in darkness, transforming the living room where she first met Walter, it’s evident that this darkness isn’t just a physical reality but a spiritual one. It’s a darkness that marks her as other.
Cringe
I'm convinced no one reads this shit
I often read Criterion essays after finishing a movie because sometimes they can be illuminating. Other times it's woke schizophrenia like this
Has any female blogger written anything illuminating ever?
>the femme fatale
This is nothing more than a feminist retcon of history. Walter Neff didn't fall for this b***h. The purposely did her up to look as phoney, cheap and crass as possible. What really happens is he sees what Keyes is like, and by extension what the rest of his life will probably look like, he has an existential crisis and decides to go for the big time. Cooming in a married broad was just a naughty primer for him to commit to doing something he had been thinking about for a long time, in his own words.
This and the fact the feminist blogger glosses over this to babble about white supremacy (lol) shows that she has never watched the movie
I got the exact same lecture about Double Indemnity in college (minus the kween bullshit) and I've been pissed off ever since.
Luckily for me when I watched it in cinema studies back in 2007 there was not a mention of race and my professor was as liberal as you could be at the time
LOOK AT THE FRICKING GUY ON CRUTCHES DIDN'T YA KNOW THAT'S BECAUSE IT'S A VISUAL METAPHOR THAT HIS MASCULINITY HAS BEEN INJURED BY THE TERRIFYING FEMALE ESSENCE WHICH IS OTHERED AND OPPRESSED. IT'S AN ACT OF VENGENCE AGAINST THE FEMININE ARCHETYPE FOR HER PERCIEVED INJURIOUS NATURE WHEN REALLY IT'S JUST A PROJECTION OF HIS OWN MASCULINE INADEQUACY. NO IT'S DEFINITELY NOT BECAUSE THIS IS A THING THAT HAPPENS LATER IN THE MOVIE THAT YOU'RE ABOUT TO WATCH AND WHICH ALSO UNDERMINES THE GUYS ENTIRE FRICKING PLAN SO IT'S SORT OF THE MOST IMPORTANT THING. DEFINITELY NOT IT'S PATRIARCHY SHIT
Watching the film for the first time I was surprised that he was pretty scummy right from the start. I assumed he was going to be a “nice guy” (sap) who gets trapped by her female powers.
I guess it’s because I know Fred mostly from My Two Dads and he’s pretty nice in that
I live in Brooklyn. Some people talk like this but don't worry, they're seen as fricking weirdos and nobody bothers to listen.
>"fookiiiin...The misapprehension about gender performativity is this: that gender is a fookin choice, or that gender is a muddafookin role, or that gender is a fugazi that one puts on, as one puts on clothes in the morning, that there is a 'one' who is prior to this gender, a one who goes to the wardrobe of gender and decides with deliberation to fuggedabout which gender it will fookin be today."
They all moved to Long Island and Staten Island, but I kind of miss them over the Midwesterners. You could tell who was born here based on how slow they fricking walk.
Did audiences get dumber or did Hollywood writers ?
both. there will never be another Billy Wilder or Raymond Chandler. and even if they existed, they would probably die as pennyless, niche artists.
That’s the guy from absent minded professor?
How do I get a film noir femme fatale gf?
commit an act so heinous they'll ship you to the gas chamber for sure
What
you haven't watched much film noir, have you?
Really good movie. I will watch pretty much anything with Edwin G. Robinson
>Edwin G. Robinson
my little man
Checked, and based
Frick this movie. Seriously, the idea that any man would throw their life away for that hag barbara stanwyck is laughable and ruins the suspension of disbelief.
Cry Danger 1951
Gun Crazy 1950
His Kind of Woman 1951
Kiss Me Deadly 1955
Kiss Tomorrow Goodbye 1950
Laura 1944
Le Deuxième Souffle 1966
Le Samouraï 1967
Murder My Sweet 1944
Out of the Past 1947
Panique 1946
Pickup on South Street 1953
Ride the Pink Horse 1947
The Asphalt Jungle 1950
The Big Heat 1953
The Big Sleep (pre release)
The Killers 1946
The Killing 1956
The Maltese Falcon 1941
This Gun for Hire 1942
Where the Sidewalk Ends 1950
This era of cinema is never coming back
For me, it's RiCHAD Widmark
best scene in the movie is pic related.
Hey if anyone has any large format images of noir movie posters suitable for framing post 'em up. I got this one on my wall.
cool poster. shame about the movie.
Gotta go to bed but have some you's based man of culture
You too anon
Wilder is the GOAT screenwriter. Sunset Boulevard, Some Like It Hot, and The Apartment are all perfect films.