Movie Analysis : ' Going Cukor '

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Going Cukor

A 1944 version from John Van Druten, Walter Reisch & John L Balderston 's screen play.
Featuring: Charles Boyer, Ingrid Bergman and a youthful Angela Lansbury
Music score by B. Kaper the Polish master

Paula Alquist a British singer in Italy returns back to reside in her late Aunt 's (who was also a singer like her Aunt) London abode where an unsolved tragedy struck, as a newly wed - and there her idyllic life slowly takes a minacious turn.

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I naturally feel at kin with the French journalistic styled terminology called; ' film noir, ' - I adhere to spicing up ordinary narratives, especially remakes of a theatre production - 'Gaslight ' originally was a screen play. Any attempt to
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There 's no better starting point; 'Gaslight ' was the embryo of film noir - it shines through, far brighter than a Curtis Bernhardt production i.e. 'Possessed ' (1947).

Right from the enormity of 'Gaslight 's ' musical cords composed by B. Kaper; cajoled ambiance and expressions the filmography captivates the voyeur, even as a natural critic I found the pioneering aspect outshone any remote view Cukor overplayed the sado-masochism trait. Purely of the de facto the unsightly trait had to come across prominently for 'Gaslight ' to work under the genre of 'noir. ' The screen play written by: John Van Druten, Walter Reisch & John L Balderston was languor in contrast. Cukor blatantly threw caution into the wind and entrusted the professional marriage of Kaper and Boyer 's talents unlike any twenty-first century director would. Call it foolhardiness, naivety or cinematology wisdom - fortunately, 'Gaslight ' floated. Better still, his foresightedness has catapulted 'Gaslight ' as being credible reading material for film students across the spectrum. Their scholarly aim is to strip back to the core of noir, once they comprehend the noir components you appreciate the honesty of the film noir genre and as epochs pass, herewith dawns a modern adaptation, notably... neo-noir with David Lynch 's 'Blue Velvet ' (1986). What never dims is the influence of 'Gaslight ' - notably an assiduous presence. The key aspect (s) include:
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