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By John Alton

Few cinematographers have had as decisive an influence at the cinematic medium as John Alton. most sensible identified for his hugely stylized movie noir classics T-Men, He Walked by way of evening, and the massive blend, Alton earned a name throughout the Forties and Nineteen Fifties as one among Hollywood's consummate craftsmen via his visible signature of crisp shadows and sculpted beams of sunshine. No much less well known for his virtuoso colour cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his paintings at the musical An American in Paris. First released in 1949, and lengthy out of print given that then, portray With gentle continues to be one of many few really canonical statements at the paintings of movie images, an unrivalled historic record at the workings of the postwar, American cinema. In easy, non-technical language, Alton explains the task of the cinematographer and explores how lights, digital camera innovations, and selection of destinations make sure the visible temper of movie. Todd McCarthy's advent, written in particular for this variation, offers an outline of Alton's biography and occupation and explores the impression of his paintings on modern cinematography.

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Yet ultimately, it is the low-budget The Honeymoon Killers, a black-and-white independent American film clearly ahead of its time which shocks the most. Starring the unlikely pairing of stolid Shirley Stoler and Tony Lo Bianco as the real-life “Lonely Hearts Killers” Martha Beck and Ray Fernandez, whose murder spree is propelled by an amour fou that both Luis Buñuel and François Truffaut would be proud of, The Honeymoon Killers, written and directed by Leonard Kastle, impresses with its casual depiction of the sordid everyday.

Many of these films were William Castle Productions or for American International. Even more of them featured some special gimmick, such as the thousand-dollar life-insurance policy from Lloyds of London that the theatre patrons of Macabre would receive in case any of them should die of fright; or the free burial services offered to expired patrons of The Screaming Skull; or “PsychoRama,” the gimmick used in Terror in the Haunted House, in which subliminal pictures were used to psychologically affect the audience; or “Emergo” in House on Haunted Hill, where a wired skeleton would “float” over the heads of the audience; or “Percepto,” in The Tingler, where vibrating motors were attached to the underside of selected theatre seats, which at the proper moments inflicted tingling sensations to a delicate portion of the theatergoer’s anatomy; or “Hypnomagic,” in The Hypnotic Eye, in which one of the onscreen actors tries to hypnotize the audience; or “Illusion-O,” in 13 Ghosts, in which special glasses allow the ghosts to become visible to the audience; or the “Fright Break” in Homicidal, where the narrative stopped for 45 seconds near the end and allowed any terrified moviegoers to get their money back if they would humiliate themselves by walking in a yellow light to the yellow “Coward’s Corner” that had been set aside in the theatre.

Before Charlotte can leave the house of her father, she must go through the experience of reenacting the crime in the dream sequence and “shooting” Dr. Drew Bayliss, played by Joseph Cotten. Yet the difference in attitude between Marnie and the Aldrich films shows why Marnie is not a horror film: Marnie is really guilty of the past crime and is cured while she is relatively young. Baby Jane and Charlotte are not guilty, and they are not cured of their madness until their whole lives have been wasted and it is too late.

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