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Gun Crazy Analysis A Dominant Femme Fatale, An Erotic Love And Obsession With Guns.

1281 words - 5 pages

Gun Crazy (1949) is film noir based on a fast-paced story, which is propelled along with numerous stick-ups, a dominant femme fatale, an erotic love and obsession with guns, and the deadly sexual attraction between two memorable trigger-happy sharp-shooters who substitute gunplay for sex.Gun Crazy is considered to be a testament to the director Joseph H. Lewis's brilliant use of the camera. We sense that he was never satisfied with just filming two characters talking. His camera dips low in one take and soars high in the next, constantly searching for unexpected and enlightening prospective. In one scene, we see the young Bart as his boyhood friends are in the hills, when they spot a mountain lion. They urge Bart to shoot the cat so they can claim the bounty. But Bart isn't a killer and he won't fire. Another boy grabs the gun away from him. In the foreground, we see Bart's fist clench and tighten as the other boy, visible in the background, jerks the trigger and sends shots skittering across the rocks. Lewis uses the whole frame to constantly give us information about the characters and the situationsOne of the filmic characteristics that were emphasized on in the film is the camera movements, linking inside and outdoors. Gun Crazy opens in the night and rain, almost the archetypal image of film noir genre. The camera moves straight forward - and we see that we are now looking outward, from inside a shop window, into a city street. This combined exterior and interior, with a camera movement encompassing both, is visual style repeated in this film.Another scene where inside and outdoors are both combined is the liquor store robbery scene, which shows the couple backing out of the store, the camera moving with them. Eventually we reach the door, and can see the street through the window. We watch as the couple move out into the street.One of the most important shot in Gun Crazy is the long take sequence, like the one showing the bank robbery from the car. Like others camera movements, this combines both outdoors and indoors, with the "indoors" here being the interior of the car. Lewis shoots through the windows of the car: showing the outdoors from the "indoors". And in the middle of the take, the camera shoots out of the car along with the heroine, waits with her on the sidewalk, and then pulls back into the car. This is an even richer movement between indoors and outdoors.After the robbery, there is a moving camera shot in the country, where the couple switches cars. First we see them untie the man whose car they stole. Then the camera pans over to the fence. Although both sides of the fence are "outside", Lewis camera placement treats the fence in a way similar to the "indoors-outdoors boundary" in his long takes. The camera stays on one side of the fence, watches the heroine climb over it, then moves and stops to show her through the fence - just like it sometimes shows people who have moved from indoors to outdoors through a doorway.Another...

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