robert bresson, samuel fuller, jean-pierre melville & trains in cinema

train travel in:-samuel fuller's pickup on south street, 1953 (aka pickpocket)-robert bresson's pickpocket, 1959-jean-pierre melville's le samouraï, 1967(all films comprise a certain criminal activity in the underground)abstractions from samuel fuller's pick-up on south street, 1953(dp. joseph macdonald *)moments from robert bresson's pickpocket, 1959(dp. léonce-henri burel)abstractions from

beauty, chaos and destruction from dassin

more images from brute force, 1947 directed by jules dassin cinematography by william h. daniels.chaosbeauty; passing lightda vinci, durer, bosch and bruegel destructiontrue chaosother great prison films:-the big house 1930 (d. george hill)-un condamné à mort s'est échappé ou le vent souffle où il veut 1956 (d. robert bresson)-le trou 1960 (d. jacques becker)-cool hand luke 1967 (d. stuart

rain & snow.......daniels & zsigmond

2 cinematographers and their use of water (or weather).-rain in brute force, 1947 directed by jules dassin, cinematography by william h. daniels.the beginning of this classic prison break film by jules dassin has various shots of the building in extreme rain, and sets the tone for the rest of the film (turbulent and unpredictable).-snow in mccabe & mrs. miller, 1971 directed by robert altman,

the naked city & the most dangerous game

realism & artificiality in 2 great american films.watching 2 movies this evening, i found that my favourite part of each film contrasted realism & artificiality.1. realism: the end of the docunoir film the naked city (jules dassin, 1948) where willie garzah runs to his death on the williamsburg bridge, hunted by barry fitzgerald. this film throughout has the grittiness of a neo-realist film, but