Sunday, March 13, 2011

Cinema Gallery: 200 MORE Movie Images: DARKNESS (Part 3 of 5)

I have to admit: I love a blackened frame. These are some of my favorite hard-to-see moments from movies. I think I love the dark on film because that's where we can catch the most abstract images, if only for a brief moment. By the way, I just want to be clear: these are actual frame grabs and, in that way, they are completely unique. I say this only because these image-only posts of mine might seem slight, but they actually take me MUCH longer to compose than any literary efforts I make on this site. In other words, this stuff ain't easy, guys. Anyway, click on the images to see them in their fullness.

Miss Lowell is banked by a coupla goons in The Big Combo. (Joseph H. Lewis, 55)

Loretta Lynn (Patrick Flynn) singing "You Ain't Woman Enough (To Take My Man)," from Coal Miner's Daughter 2. (Patrick Flynn, 94)

The Bride sends one of the Crazy 88s to the blood-spattered floor in Kill Bill (Volume One). (Quentin Tarentino, 2003)

Rooftop fight from The Racket. (John Cromwell et al., 51)

Meshes of the Afternoon. (Maya Deren, 43)

Mike Hammer makes a foe's switchblade drop in Kiss Me, Deadly. (Robert Aldrich, 55)

The hidden gun. Dog Day Afternoon. (Sidney Lumet, 76)

Dead man walking in The Man Who Was Not There. (Joel and Ethan Coen, 2001)

Stalking. Made in Britain. (Alan Clarke, 82)

A flashlight barely sheds light on the case of The Thin Man. (W.S. Van Dyke, 34)

Cliff Robertson in Obsession. (Brian De Palma, 76)

Just one mighty hiss scares the bad guys away in Pee-Wee's Big Adventure. (Tim Burton, 85)

Daniel Plainview, squenched while baptized in oil, as his partner drowns in the stuff. There Will Be Blood. (Paul Thomas Anderson, 2007)

Illusion. Black Ice. (Stan Brakhage, 94)

Talking and working, down in The Hole. (John and Faith Hubley, 62)

Jesse assures an untrustworthy friend is dead in The Assassination of Jesse James by the Coward Robert Ford. (Andrew Dominick, 2007)

A frug, starring Sal Mineo, from Who Killed Teddy Bear? (Joseph Cates, 65)

Sidney Falco recognizes his complicity in evil. Sweet Smell of Success. (Alexander Mackendrick, 57)
 The opening image from Star Wars. (George Lucas, 77)

Richard Pryor Live on the Sunset Strip. (Joe Layton, 82)

Her daughter points towards Heaven in The Rapture. (Michael Tolkin, 91)

The title character cries and prays for her mother's return in Ponette. (Jacques Doillon, 96)

Safe as a church. Point Blank (John Boorman, 67)

Salina, left alone by the tree for the night in A Patch of Blue. (Guy Green, 65)

The daughter comes alive again--sort of--in Night of the Living Dead. (George A. Romero, 68)

Eve's preparation for suicide in Interiors. (Woody Allen, 78)

Pip runs right home at the beginning of Great Expectations. (David Lean, 46)

"Go ahead, Melly. Scream all you want." Gone With The Wind. (Victor Fleming et al., 39)

"Come on out, you bastard." Barbara Hershey, brave and resplendent, in The Entity. (Sidney J. Furie, 81)

A black man struggles for survival in the white man's army. The Dirty Dozen. (Robert Aldrich, 67)

Daniel watches his biggest mistake in Defending Your Life. (Albert Brooks, 90)

As Cool Hand Luke is whipped out in the yard, his fans and fellow prisoners respond. (Stuart Rosenberg, 67)

The fat man steps outside in the rain for a shower in Carny. (Robert Kaylor, 80)

Max Cady as upside-down, inside-out, black-is-white horror in Cape Fear. (Martin Scorsese, 91)

Boris Karloff in Black Sabbath. (Mario Bava, Salvatore Billitteri, 64)

A general (Sam Shepard) ponders his next move in Black Hawk Down. (Ridley Scott, 2001)

A high for Charlie Parker (played by Forrest Whittaker) in Bird. (Clint Eastwood, 88)

Hal Holbrook as Deep Throat in All The President's Men. (Alan J. Pakula, 76)

Modern man touches the future. 2001: A Space Odyssey. (Stanley Kubrick, 68)

John Doe's most intimate thoughts, in black and white, from Seven. (David Fincher, 95)


Michael C said...

A stunning gallery of images. I'm also fond of blackened images, watching an image fight its way through the shadowy murk. I recently watched Cassavetes' HUSBANDS for the first time, and found the most compelling visual moments to be ones where characters were lost in tightly framed close-ups that obfuscated any clear sense of their being.
Thanks for the thought-inspiring collection of shots.

Dean Treadway said...

Thank you, Michael. I worked a long time on this collection of images. I think a blackened photograph ups the abstract quotient of any movie. Your comment about the brilliant HUSBANDS makes me wanna watch that movie all over again. And that is exactly what I'm aiming at in doing these blog entries. I wanna make the reader watch the movie again, or for the first time. Anyway, thank you for stopping by to visit FILMICABILITY!