How To Properly Identify the Ending of On Dangerous Ground

|MH Rowe| On Dangerous Ground (1951) might appear at first to be one of the more unbearably melodramatic film noirs ever produced. Its ending, or really the ending of the ending—the film’s final scene—threatens especially to pull all that has preceded it down into the depths of pure… Continue reading

Ozu’s Colorful Everyday: Equinox Flower (1958) and Late Autumn (1960)

|Steve Rybin| The Trylon’s “Ozu in Color” series presents four of Yasujirō Ozu’s color films made near the end of the director’s career (1958 to 1963). These films cover what is for Ozu familiar narrative ground: fathers and mothers give away daughters to marriage; generational conflicts pit… Continue reading

From the Darkness: The Influence of German Expressionism on Hitchcock’s Strangers on a Train

|Daniel McCabe| Strangers on a Train (1951) comes from the darkness, and not only because Alfred Hitchcock (1899-1980) shot the film in black and white. It draws influences from the German Expressionist films of the 1920s to create a foreboding mood while using the conventions… Continue reading