Martha Pennigar (msmartha@earthlink.net)
Fri, 24 Dec 1999 09:30:22 -0500
In my viewing experience, voice-overs in films fall into 2
categories: either they're succinct and dimensional footnotes
that explain or illuminate an important part of the story, or
they're necessary because the movie would be unintelligible
without them. Blade Runner, for me, falls into this latter
category. Sunset Boulevard is a perfect example of the
former, as is Double Indemnity. A few years ago, following
this same discussion, some friends and I watched Sunset B
with the sound turned off. Try it sometime. It's all still
there, the story, the nuances and motivations and feelings,
clear as glass. We wound up amazed that it played like a
silent movie and we didn't even need the dialogue. Swanson
was, of course, perfectly readable, as was Von Stroheim, but
the real surprise was Holden, who gives a great performance
through his facial expressions and body language. Nancy Olson
is great, too, and their scenes together are real acting
lessons. We were also struck by how Wilder tells the story
through other elements, particularly light and shadow, and
how the daylight scenes give way to a permanent night as the
tone of the story darkens. The scene of Holden being fished
out in the early dawn was so visually shocking, as was the
sequence when Norma goes to the studio and the sunlight
breaks through the murky daydream quality of her life.
Perhaps Norma Desmond was right--they had faces then and
didn't need words. And, also, directors like Wilder, who were
in full command of all the elements of story-telling.
Neil, I second the emotion on Don Winslow. Great writer, and
his Neal Carey mysteries are wonderful, too.
Happy holidays, everyone!
Martha
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