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dianora77 May 7 2009, 20:03:45 UTC
One of the most memorable seminars I took at film school was the Film Noir one. We had a lecturer from the US, and we'd watch a movie almost every class. Shame it was only once a week. My favourite, though, has to be Double Indemnity. Oh, and Touch of Evil. They're both so much fun. :D

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baleanoptera May 8 2009, 12:21:23 UTC
Film noir is my catnip. The library here has an awesome collection of film noir, and so I can indulge my habit accordingly. ;)

I haven't seen Double Indemnity in years, but Barbara Stanwyck in that film is in a league of her own. Also IIRC it stars Edward G. Robinson, and he is almost always excellent.

Touch of Evil though, is in my to-be-watched pile. I'm very much looking forward to it.

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trailer_spot May 8 2009, 18:18:13 UTC
Michael Clayton was one of the favourite movies I saw last year. I very much enjoy intelligent thrillers like that and I appreciated that the movie treated me as an adult.
I'm not versed enough to notice things like the editing you mentioned but I'm looking forward to pay attention to the things you mentioned when I watch it again. I bought the DVD only a few weeks ago but as it's often the case it still lies wrapped on the shelf.
As you mention, what makes the movie stand out is it's final scene. It stayed with me for a long time. It just hit the right spot for me, and probably tells you more about me than about the movie. Here's the answer that I gave to your hypothetical questions: Clayton has done the right thing, had a brief moment of satisfaction but then he sits in the taxi, still feels like shit, exhausted and like the loneliest man in the world.

I've become a big fan of Gilroy. I liked the Bourne movies (especially the third one) and I'm looking forward to see Duplicity, maybe next week. I don't know how much you're ( ... )

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baleanoptera May 18 2009, 13:45:51 UTC
I very much relate to your interpretation of the ending, and the more I think about it the more I love how it was all so bittersweet. There is a further dimension as well as well I think- in that Michael has finally acknowledged who he is. Throughout the film he is constantly asked "Who are you" or other people ask "Who is Michael Clayton" - and the answers we are given are always vague or clearly incorrect euphemisms("miracle worker", "janitor"). But in his last talk with Karen Crowder Calyton himself says "I'm the guy you buy", and the reason she falls for his subsequent trap is because that statement is true. Up until now Clayton has been the guy you pay to get things done, and this has largely defined him. So when he turns Karen Crowder in to the police he walks away from being that guy, and without any new way of defining himself. I think that too comes into play at the end there ( ... )

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