A man staggers into a police station to report a murder. The plot is irresistible from the first frame onward. This is, of course, the classic definition of film noir, those 1940s thrillers in which ordinary people discovered the evil that lurked beneath the surface of society, and “D.O.A.” itself is inspired by a 1949 thriller starring Edmund O’Brien. But other people have other plans, and the hero is swept along by the tide. What all of the movies have in common is that the hero is passive and wants only to be left alone. In “ The House on Carroll Street,” Kelly McGillis overhears a conversation and is plunged into the midst of Nazi schemes.
“ Frantic” stars Harrison Ford as an American doctor whose wife is kidnapped from their Paris hotel because of a baggage mixup at the airport. In “ Masquerade,” Meg Tilly plays a la-de-dah rich girl who falls blissfully in love, unaware that she is surrounded by a pack of vipers.
Idk whats keeping me from suicide movie#
“D.O.A.” is a movie like that in which a college professor learns he has been poisoned and has 24 hours to live - 24 hours to find his killer. But lately, now, there’s been a return of a quieter, more intriguing kind of thriller in which ordinary people get caught up against their will in mysteries they don’t understand. The only question was how long it would take him to kill everyone he didn’t like. Are we in the middle of something new here? Are thrillers abandoning supermen and embracing everyman? For a decade or more we’ve had the spectacle of the violent man of action, smashing everything that stands in his way.
0 kommentar(er)
