On The Hitch-Hiker

The Hitch-Hiker is a story of three men – one with a gun and the others reluctantly at his whim – struggling to survive.  Roy Collins and Gilbert Bowen, two friends supposedly on a “fishing trip,” find themselves face-to-face with the hitch-hiking, serial killing Emmett Myers.  Myers holds the two friends at gunpoint throughout the film, coaxing them into disastrous situations.  The film ends almost anti-climatically, as Myers is recognized and caught by the Mexican police.    

While many classic noir films portray women in a negative light – glamorous, but dodgy and dangerous – Ida Lupino challenged such notions with film’s like The Hitch-Hiker.   Not only is Ida Lupino considered to be the first female noir director, her crafty character choice in also of significance.  Unlike most film noirs, The Hitch-Hiker had a predominantly – almost entirely – male cast.  Instead of the femme fatale commonly associated with film noir, William Talman leads the film as the uneasy and villainous Emmett Myers.  The film’s lead characters, as well as those only placed in a few scenes, are men.  During a time when cinema was riddled with narratives that attempted to reinforce stereotypical norms, and noir films were aimed at portraying women as the villain, Lupino’s Hitch-Hiker did the opposite.

Also unlike many classic noir films, Lupino’s Hitch-Hiker has some very spacious cinematic elements.  Though there is some sense of claustrophobia during scenes shot inside the car, a good portion of the film depicts vast desert terrain and “lonely” highways instead of jam-packed cities.  This vastness is another opposition to classic noir films, but Lupino makes it work brilliantly. 

While The Hitch-Hiker employs many components that establish it as a true noir film, the elements that are outside the realm of noir are interesting to dissect. 

On Double Indemnity

While I don't want to undermine the progress made in terms of the representation of women in cinema, I think that Double Indemnity and other noir films -- though groundbreaking in their portrayal of women -- hardly present a fair representaion.  I definitely think that such films challenge many preconceived notions of gender and the roles women traditionally play (in film and society).  Still, however, it seems that the women portrayed in these films are, in many ways, confined and defined by societal norms.
Take Phyllis, for instance.  Yes, she is a very strong, witty character, which goes against the grain of the wife or motherly character often portrayed in cinema during this period.  But, Phyllis' strength and self-determination stem from the limitations placed upon her by her husband.  I'm not saying this is a bad thing at all (for her to be determined to "get out" of the relationship).  Rather, that Phyllis D's power is a product of her confinement at the hands of men.
Instead of portraying women in a positive light, films like Double Indemnity often present women in destructive roles.  While these roles may be considered powerful and liberating for women, they also may be a bit over-the-top -- providing an extreme generalization and negative image.

On M: Melodrama or Horror?

While there are melodramatic elements in Fritz Lang’s M, it’s difficult to categorize the film as a melodrama.  Nor, one could argue, can M fit perfectly into the realm of horror.  As I watched the film, I kept this question in mind – is it horror or melodrama?  At M’s conclusion, I realized that the film contains the best from both worlds.  Lang’s film seamlessly integrates these different genres, creating a stunning composition. 

Moreover, though, I would argue that Lang’s M is more along the lines of horror.  Introducing the murderer as a shadow, whistling an eerie but familiar tune, definitely plays on the chords of horror.  Not to mention the film’s subject matter – a serial murderer who is utterly powerless over his impulse to kill children.  The subject matter in-and-of itself seems very horror-esque.  The elements of suspense used in M also lead me to this classification. As the film plays out, excitement and anticipation builds for the viewer.  So, really, one could place M in a number of genres or categories.  In the end, it’s viewer who decides.    

On Sherlock Jr: Keaton and Self-Reflexivity

Perhaps the best example of Keaton’s use of self-reflexivity in Sherlock Jr. takes place during the film’s final scene. Realizing that she’s “made a terrible mistake” in blaming Keaton for stealing a pocket watch belonging to her father, Keaton’s wanna-be girlfriend confronts him to apologize.  The awe-struck Keaton, working as a “moving picture operator,” hardly knows how to handle this situation.  After dreaming of himself as the heroic, well-respected detective – bravely exposing the real thieves and rescuing the girl – Keaton now finds himself facing his awkward reality.  After her apology to Keaton, he fumbles for the right words, for the right move to make.  Remembering his role as moving picture operator, Keaton notices the characters on the silver screen.  He awkwardly mimics the actions of the two characters – man and woman, in love – as they embrace.  He takes what he sees on the film and applies it to his present position, while in reality, he’s part of a film himself.  A film within a film, that also demonstrates the ability of this medium to persuade and teach.  Keaton’s use of self-reflexive techniques, while innovative and entertaining, is truly effective in demonstrating some of the lesser-known aspects of film.    

Intro Video

Looking Forward to the Semester! 

An introductory video detailing some of my interests in terms of film, as well as my expectations for the course.

Background Music: Jon Brion "Monday" from I Heart Huckabees