NAKED KISS
A great movie by Sam Fuller is a problematic movie, no matter how we think of the impossible plot, all the shmaltz with the young child, the fall of Grant's behavior, the dirty "B Bon Bons" of "Candy '" This intellectual [Goethe, Lord Byron and Beethoven have their moments], the whole cheap, low-budget everything - and constantly up and down - nevertheless, this work is a veritable paper on at least one thing - how to achieve a A sensational opening and immediate hooking up to the audience. [Although honestly some mistakes go beyond forgiveness - the continuity of the open credit sequence is shrinking. It is said that Kelly is in the room with the man she has just suffered, but what we see behind her is the stock photography background.]
Behind the film is the ironic, stereotypical drama trumpet behind A LEON FRAMKESS SAM FIRKS PRODUCTION. yawn!
Then switch immediately. When we saw that Kay used her wallet to defeat a drunk man, the soundtrack of the film crossed the wild, out of control. Jagged cutting is not completely professional, but it works very well - what happened here? We want to know because she defeated him by the way. The shock that saw her bald head was a little relieved because it was so unprofessional - we could clearly see the third person, a crew member who was not a character in the fictional story, tearing off the wig Kelly from the back, it is said that It is the person in front of her, the person she is beating, knocking it off with a brush - but it is still a kn kn a ausalness or yet yet yet yet yet yet yet yet yet yet yet yet yet Yet yet yet yet yet yet great image and a gripping idea.
After Kelly hit him so hard, he slammed his head into the table and slammed it out - she squirted and was a little exposed when she spoke. "800 dollars... your parasite... I only spent seventy-five dollars to find me." Why come to her? She said angrily: "I won't roll you, you are drunk!" Ok - now we know why it came to her. This is the cost of her owing her for female services. Then, when the main integral scrolls Kelly sends her fake back and puts her face together, we get some sentimental strings on the soundtrack...but with the end of the performance, wild Jazz returns and we have returned. Restart! [When she left the room, she tore her photo off the wall, hung it with other ladies' photos, and then tore it into pieces.]
This opening sequence really lets us know about it - it immediately grabs our lapel. In my opinion, this is great for filmmaking - even if the movie reminder may not be at this level. I think this may be very encouraging for young filmmakers. It definitely shows what no money can do, but there is a lot of imagination, courage, spirit and determination.
As the story develops, Fuller's wisdom and humor erupt in a period of time. Example: In a barmaid named Hatrack, they observed that "this is not a customer who doesn't want to hang her Fedora on her." In her booze called Angel Bubble, Kelly said "Angel Bubble Like liquid gold, like a slow explosive - for a tasteful person." A landlady who didn't know Kelly as a prostitute asked her: "You know we have a third of the time in bed." Have you spent it?" The female landlord retained a sensual model named Charlie, who appeared in the "Charlie for himself" credits. When Kelly cites the German poet Goethe [she calls it "go-thuh"], Griff asked "Who is going?" These are just a few examples that have appeared very early in the movie, almost turning the story into a drama. . As the film evolves, there are more things to follow, including the skull known as the "Authentic Drinking Cup for Gauls".
It's a bit unfortunate that as it moves, the movie goes further and further.
The complete plot takes a long time to unfold and show itself, and there are many obstacles along the way. At some point, humor and jokes collapsed to the most severe state on many different planes, not only in the main plot, but also in several different minor episodes, so from this perspective, the whole was cut into Two distinct parts. Every viewer must weigh this influence on him or herself.
One of the reasons that things are a bit lateral is the camera's neuroticism and the frustration of visual style. Fuller does not seem to have a developing personality, nor is it the preferred way to show us things. The lens is a hodgepodge, and a set of storyboard drawings are pieced together. We get two lenses, lens/reverse lens, lens, camera low to the ground looking up at the character, several high crane lenses seem to, if not defying, at least against the usual reason for such a lens, camera movement or The lens that was pulled back had no obvious purpose - in short, it all looked too grassy, a bit uncertain, and nervous. I don't know if this is enough to weaken Fuller's pure enthusiasm and vitality in other parts of filmmaking, but it seems to have stopped this momentum in a way that a more fluid style might not be.
Orignal From: Postmodern movie method - nude kiss
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