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    <title>silver nitrate notes</title>
    <link>https://silvernitratenotes.com/</link>
    <description>A personal log of classic black and white cinema, by Hal Vesper. Silent era through the late 1950s, with occasional forays into the early New Wave.</description>
    <language>en-au</language>
    <managingEditor>hal@silvernitratenotes.example (Hal Vesper)</managingEditor>
    <webMaster>hal@silvernitratenotes.example (Hal Vesper)</webMaster>
    <lastBuildDate>Mon, 11 May 2026 11:31:10 +1000</lastBuildDate>
    <generator>silver nitrate notes (handcrafted)</generator>

    <item><title>Lubitsch's Trouble in Paradise and the Door That Stays Closed</title><link>https://silvernitratenotes.com/posts/2026-trouble-paradise.html</link><description>For roughly thirty-three years, between July 1935 and the collapse of the Production Code in 1968, Ernst Lubitsch's Trouble in Paradise (1932) was effectively unavailable in the United States.</description><pubDate>Fri, 08 May 2026 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2026-trouble-paradise.html</guid></item>

    <item><title>John Alton, T-Men, and the Black That Was Not a Mistake</title><link>https://silvernitratenotes.com/posts/2026-t-men.html</link><description>Most of the cinematographers I have written about on this site (Toland, Howe, Krasker, Musuraca) had a Hollywood orthodoxy to push back against. John Alton (1901-1996) had something different.</description><pubDate>Sun, 03 May 2026 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2026-t-men.html</guid></item>

    <item><title>Subrata Mitra and the Bedsheet that Lit Pather Panchali</title><link>https://silvernitratenotes.com/posts/2026-pather-panchali.html</link><description>Subrata Mitra (1930-2001) was twenty-one years old, had never operated a motion-picture camera, and had been hired by Satyajit Ray on the basis of a folder of black and white still photographs taken on a Rolleiflex around the Calcutta…</description><pubDate>Wed, 22 Apr 2026 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2026-pather-panchali.html</guid></item>

    <item><title>Gregg Toland's Deep Focus Was an Accident</title><link>https://silvernitratenotes.com/posts/2026-toland.html</link><description>By 1941, Toland had been working out the technique for the better part of a decade.</description><pubDate>Sun, 12 Apr 2026 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2026-toland.html</guid></item>

    <item><title>My Darling Clementine and the Dance on the Unfinished Church</title><link>https://silvernitratenotes.com/posts/2025-my-darling-clementine.html</link><description>Ford's most optimistic Western. MacDonald photographed Monument Valley as stillness.</description><pubDate>Fri, 14 Nov 2025 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2025-my-darling-clementine.html</guid></item>

    <item><title>Touch of Evil and the Opening That Survived</title><link>https://silvernitratenotes.com/posts/2025-touch-of-evil.html</link><description>Orson Welles's Touch of Evil (1958) is his last American studio film. Universal hired him to direct at the insistence of Charlton Heston, who had been offered the lead role and had asked who was directing.</description><pubDate>Sun, 28 Sep 2025 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2025-touch-of-evil.html</guid></item>

    <item><title>Wild Strawberries and Victor Sjöström's Last Face</title><link>https://silvernitratenotes.com/posts/2025-wild-strawberries.html</link><description>Bergman cast Sjöström for his face. Fischer softened the contrast.</description><pubDate>Mon, 18 Aug 2025 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2025-wild-strawberries.html</guid></item>

    <item><title>Nights of Cabiria and Giulietta Masina's Last Look</title><link>https://silvernitratenotes.com/posts/2025-cabiria.html</link><description>Federico Fellini made Nights of Cabiria (Le notti di Cabiria, 1957) three years after La Strada, again with Giulietta Masina in the lead and again with Otello Martelli as cinematographer (with Aldo Tonti on some sequences).</description><pubDate>Mon, 23 Jun 2025 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2025-cabiria.html</guid></item>

    <item><title>Godard's Breathless and the Jump Cut as Declaration</title><link>https://silvernitratenotes.com/posts/2025-breathless.html</link><description>The rough cut was too long. Godard cut within shots.</description><pubDate>Fri, 30 May 2025 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2025-breathless.html</guid></item>

    <item><title>Hiroshima mon amour and the Two Cameras</title><link>https://silvernitratenotes.com/posts/2025-hiroshima.html</link><description>Vierny photographed the hotel room. Takahashi photographed the archival Hiroshima.</description><pubDate>Wed, 12 Feb 2025 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2025-hiroshima.html</guid></item>

    <item><title>Summer with Monika and the Stockholm Archipelago</title><link>https://silvernitratenotes.com/posts/2024-summer-monika.html</link><description>Ingmar Bergman made Summer with Monika (Sommaren med Monika, 1953) four years before The Seventh Seal and Wild Strawberries.</description><pubDate>Thu, 19 Dec 2024 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2024-summer-monika.html</guid></item>

    <item><title>Casablanca and the Problem of the Finished Film</title><link>https://silvernitratenotes.com/posts/2024-casablanca.html</link><description>Competence compounded over seven weeks produced something better than any one of them alone.</description><pubDate>Mon, 07 Oct 2024 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2024-casablanca.html</guid></item>

    <item><title>Truffaut, Decaë, and the Handheld Schoolboy</title><link>https://silvernitratenotes.com/posts/2024-400-blows.html</link><description>The New Wave begins in a light Arriflex, Plus-X, and a car.</description><pubDate>Sun, 16 Jun 2024 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2024-400-blows.html</guid></item>

    <item><title>Late Spring and Ozu's Empty Chair</title><link>https://silvernitratenotes.com/posts/2024-late-spring.html</link><description>Yasujirō Ozu's Late Spring (1949) is the first of the films he made with Yūharu Atsuta that established the mature Ozu style.</description><pubDate>Tue, 23 Apr 2024 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2024-late-spring.html</guid></item>

    <item><title>The Big Sleep and the Case We Stopped Trying to Follow</title><link>https://silvernitratenotes.com/posts/2024-big-sleep.html</link><description>Hickox lit Warner Bros into what we now call noir. The plot is incoherent. The film is one of the best of the decade.</description><pubDate>Sat, 17 Feb 2024 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2024-big-sleep.html</guid></item>

    <item><title>Bicycle Thieves and the Refusal of Composition</title><link>https://silvernitratenotes.com/posts/2023-bicycle-thieves.html</link><description>A picture of postwar Rome that has not been bettered.</description><pubDate>Mon, 02 Oct 2023 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2023-bicycle-thieves.html</guid></item>

    <item><title>Madame de... and the Camera That Will Not Stop Moving</title><link>https://silvernitratenotes.com/posts/2023-madame-de.html</link><description>Max Ophüls (1902-1957) made The Earrings of Madame de... (1953) at the end of his career, four years before his death. The cinematographer was Christian Matras, whom we have met on Renoir's La Grande Illusion sixteen years earlier.</description><pubDate>Fri, 04 Aug 2023 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2023-madame-de.html</guid></item>

    <item><title>Sansho the Bailiff and the Long Track to the Lake</title><link>https://silvernitratenotes.com/posts/2023-sansho.html</link><description>Mizoguchi's Sansho the Bailiff (1954) followed Ugetsu by a year. The cinematographer was Kazuo Miyagawa again, his third Mizoguchi film and the one where Miyagawa's long-take technique reaches its most extended form.</description><pubDate>Thu, 15 Jun 2023 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2023-sansho.html</guid></item>

    <item><title>The Seventh Seal and Gunnar Fischer's Cloud</title><link>https://silvernitratenotes.com/posts/2023-seventh-seal.html</link><description>Fischer filtered the sky so that clouds became hard white shapes against near-black.</description><pubDate>Sat, 11 Mar 2023 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2023-seventh-seal.html</guid></item>

    <item><title>The Virgin Spring and Nykvist's First Bergman</title><link>https://silvernitratenotes.com/posts/2023-virgin-spring.html</link><description>Ingmar Bergman's The Virgin Spring (Jungfrukällan, 1960) was the first Bergman film photographed by Sven Nykvist (1922-2006).</description><pubDate>Thu, 26 Jan 2023 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2023-virgin-spring.html</guid></item>

    <item><title>Pickpocket and the Hands at the Gare de Lyon</title><link>https://silvernitratenotes.com/posts/2022-pickpocket.html</link><description>Bresson's Pickpocket (1959), his third collaboration with Léonce-Henri Burel, is a film about a young Parisian pickpocket named Michel (Martin LaSalle) who works the train stations and race tracks of the city, gets better at his craft,…</description><pubDate>Mon, 19 Dec 2022 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2022-pickpocket.html</guid></item>

    <item><title>Stanley Cortez and the Theology of Charles Laughton</title><link>https://silvernitratenotes.com/posts/2022-night-of-hunter.html</link><description>Cortez photographed something American cinema had not photographed before.</description><pubDate>Thu, 13 Oct 2022 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2022-night-of-hunter.html</guid></item>

    <item><title>Dreyer's Day of Wrath and the Burden of the Pious</title><link>https://silvernitratenotes.com/posts/2022-day-of-wrath.html</link><description>Shot in occupied Denmark. Dreyer makes the audience watch what his camera watches.</description><pubDate>Sun, 03 Jul 2022 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2022-day-of-wrath.html</guid></item>

    <item><title>Notorious and the Key in the Hand</title><link>https://silvernitratenotes.com/posts/2022-notorious.html</link><description>Tetzlaff's crane descent to Bergman's hand remains the shot.</description><pubDate>Mon, 25 Apr 2022 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2022-notorious.html</guid></item>

    <item><title>Cocteau's Beauty and the Beast and Henri Alekan's Sleep</title><link>https://silvernitratenotes.com/posts/2022-belle.html</link><description>Jean Cocteau (1889-1963) was, primarily, a poet and a dramatist. His film work was occasional.</description><pubDate>Tue, 08 Feb 2022 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2022-belle.html</guid></item>

    <item><title>Some Like It Hot and Charles Lang's Comedy Light</title><link>https://silvernitratenotes.com/posts/2021-some-like-it-hot.html</link><description>Wilder refused colour. Monroe agreed. Lang lit the result.</description><pubDate>Thu, 18 Nov 2021 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2021-some-like-it-hot.html</guid></item>

    <item><title>Kiss Me Deadly and the Great Whatsit</title><link>https://silvernitratenotes.com/posts/2021-kiss-me-deadly.html</link><description>One of the most visually aggressive American films of its decade.</description><pubDate>Tue, 07 Sep 2021 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2021-kiss-me-deadly.html</guid></item>

    <item><title>A Man Escaped and the Cell Door</title><link>https://silvernitratenotes.com/posts/2021-man-escaped.html</link><description>Bresson followed Diary of a Country Priest with a war film, A Man Escaped (Un condamné à mort s'est échappé, 1956), adapted from a memoir by André Devigny, a member of the French Resistance who had been imprisoned by the Gestapo at Fort…</description><pubDate>Thu, 15 Jul 2021 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2021-man-escaped.html</guid></item>

    <item><title>Rashomon's Sun and Miyagawa's Mirror</title><link>https://silvernitratenotes.com/posts/2021-rashomon.html</link><description>Miyagawa pointed the camera at the sun. The technique became a standard.</description><pubDate>Thu, 27 May 2021 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2021-rashomon.html</guid></item>

    <item><title>Smiles of a Summer Night and Bergman's Other Register</title><link>https://silvernitratenotes.com/posts/2021-smiles.html</link><description>Smiles of a Summer Night (Sommarnattens leende, 1955) is the Bergman film most people have not seen. It is also, by some distance, the funniest thing he made.</description><pubDate>Wed, 14 Apr 2021 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2021-smiles.html</guid></item>

    <item><title>Throne of Blood and the Fog of Cobweb Castle</title><link>https://silvernitratenotes.com/posts/2021-throne-of-blood.html</link><description>Kurosawa's Macbeth, in fog manufactured by Toho over weeks.</description><pubDate>Thu, 18 Feb 2021 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2021-throne-of-blood.html</guid></item>

    <item><title>On the Waterfront and the New Jersey Wind</title><link>https://silvernitratenotes.com/posts/2020-waterfront.html</link><description>Kaufman used the cold. The longshoremen's breath visible in the air is the photography.</description><pubDate>Mon, 30 Nov 2020 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2020-waterfront.html</guid></item>

    <item><title>Shadow of a Doubt and Hitchcock's American Town</title><link>https://silvernitratenotes.com/posts/2020-shadow-of-doubt.html</link><description>The menace in the same frame as the idyll, neither separable from the other.</description><pubDate>Sat, 22 Aug 2020 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2020-shadow-of-doubt.html</guid></item>

    <item><title>Diary of a Country Priest and the Discipline of Refusal</title><link>https://silvernitratenotes.com/posts/2020-country-priest.html</link><description>Robert Bresson (1901-1999) made Diary of a Country Priest (Journal d'un curé de campagne, 1951) from a 1936 novel by Georges Bernanos. It is the first film in which Bresson's mature style is fully visible.</description><pubDate>Sat, 27 Jun 2020 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2020-country-priest.html</guid></item>

    <item><title>Tokyo Story During Lockdown</title><link>https://silvernitratenotes.com/posts/2020-tokyo-story.html</link><description>Watching Ozu in April 2020 made his pace make physical sense for the first time.</description><pubDate>Thu, 14 May 2020 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2020-tokyo-story.html</guid></item>

    <item><title>The Best Years of Our Lives and Toland's Last Major Film</title><link>https://silvernitratenotes.com/posts/2020-best-years.html</link><description>William Wyler's The Best Years of Our Lives (1946) was Gregg Toland's last major credit. Toland died of a heart attack in 1948 at forty-four.</description><pubDate>Wed, 08 Apr 2020 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2020-best-years.html</guid></item>

    <item><title>The Life of Oharu and Mizoguchi's Descent</title><link>https://silvernitratenotes.com/posts/2020-oharu.html</link><description>Kenji Mizoguchi's The Life of Oharu (Saikaku Ichidai Onna, 1952) preceded Ugetsu by a year. The cinematographer was Yoshimi Hirano, working with Mizoguchi for the first and, as it turned out, only time.</description><pubDate>Wed, 04 Mar 2020 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2020-oharu.html</guid></item>

    <item><title>Fellini's La Strada and the Road as Moral Geography</title><link>https://silvernitratenotes.com/posts/2019-la-strada.html</link><description>The bridge between Italian neorealism and the Fellini register of the 1960s.</description><pubDate>Fri, 15 Nov 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-la-strada.html</guid></item>

    <item><title>Les Diaboliques and the Bathtub That Does Not Drain</title><link>https://silvernitratenotes.com/posts/2019-diaboliques.html</link><description>Clouzot made Les Diaboliques two years after The Wages of Fear, again with Armand Thirard on camera. The source was a novel by Boileau and Narcejac, the writing team who would later provide Hitchcock with the source for Vertigo.</description><pubDate>Wed, 18 Sep 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-diaboliques.html</guid></item>

    <item><title>Chaplin's Gold Rush and the Dinner That Gets Eaten</title><link>https://silvernitratenotes.com/posts/2019-gold-rush.html</link><description>The licorice boot took sixty-three takes.</description><pubDate>Thu, 04 Jul 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-gold-rush.html</guid></item>

    <item><title>Sullivan's Travels and Preston Sturges's Disguise</title><link>https://silvernitratenotes.com/posts/2019-sullivans-travels.html</link><description>Seitz shoots the film in two registers. The shift is not announced.</description><pubDate>Thu, 09 May 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-sullivans-travels.html</guid></item>

    <item><title>To Be or Not to Be and the Comedy of Occupation</title><link>https://silvernitratenotes.com/posts/2019-to-be-or-not.html</link><description>Ernst Lubitsch (1892-1947) directed To Be or Not to Be (1942) at United Artists during the war, with Carole Lombard and Jack Benny as the leads.</description><pubDate>Fri, 12 Apr 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-to-be-or-not.html</guid></item>

    <item><title>Stray Dog and the Lost Pistol</title><link>https://silvernitratenotes.com/posts/2019-stray-dog.html</link><description>I have been promising a post on Kurosawa's Stray Dog (1949) for years. A reader chided me about it in the guestbook back in 2026. Here it is, finally.</description><pubDate>Fri, 08 Mar 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-stray-dog.html</guid></item>

    <item><title>Sunset Boulevard and the Dead Narrator</title><link>https://silvernitratenotes.com/posts/2019-sunset-boulevard.html</link><description>The house is a mausoleum. Swanson is performing an older cinema.</description><pubDate>Mon, 28 Jan 2019 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2019-sunset-boulevard.html</guid></item>

    <item><title>Sierra Madre and the Cinematography of Greed</title><link>https://silvernitratenotes.com/posts/2018-sierra-madre.html</link><description>Warner Bros hated location shooting. Ted McCord went to Mexico anyway.</description><pubDate>Fri, 21 Dec 2018 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2018-sierra-madre.html</guid></item>

    <item><title>The Wages of Fear and Armand Thirard's Truck</title><link>https://silvernitratenotes.com/posts/2018-wages-of-fear.html</link><description>Henri-Georges Clouzot (1907-1977) made The Wages of Fear (Le Salaire de la peur, 1953) in a format that did not yet have a standard name. Two American studios had passed on the project.</description><pubDate>Fri, 05 Oct 2018 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2018-wages-of-fear.html</guid></item>

    <item><title>Double Indemnity and the Black in Every Shadow</title><link>https://silvernitratenotes.com/posts/2018-double-indemnity.html</link><description>John F. Seitz refused to light the room.</description><pubDate>Sun, 12 Aug 2018 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2018-double-indemnity.html</guid></item>

    <item><title>Mr. Smith Goes to Washington and the Filibuster</title><link>https://silvernitratenotes.com/posts/2018-mr-smith.html</link><description>Frank Capra's Mr. Smith Goes to Washington (1939) was made the year after It Happened One Night had won everything in sight.</description><pubDate>Sat, 23 Jun 2018 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2018-mr-smith.html</guid></item>

    <item><title>Ford's Grapes of Wrath and Toland's Camera for the Poor</title><link>https://silvernitratenotes.com/posts/2018-grapes-of-wrath.html</link><description>Toland on loan from Goldwyn, a year before Citizen Kane.</description><pubDate>Sun, 15 Apr 2018 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2018-grapes-of-wrath.html</guid></item>

    <item><title>Drunken Angel and Kurosawa Meeting Mifune</title><link>https://silvernitratenotes.com/posts/2018-drunken-angel.html</link><description>Akira Kurosawa made Drunken Angel (Yoidore Tenshi, 1948) in occupied postwar Japan. It was the first film in which he directed Toshirō Mifune.</description><pubDate>Sat, 10 Feb 2018 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2018-drunken-angel.html</guid></item>

    <item><title>Kubrick's Paths of Glory and the Tracking Shot as Argument</title><link>https://silvernitratenotes.com/posts/2017-paths-of-glory.html</link><description>The argument of the film is made by the tracking shot before any dialogue makes it.</description><pubDate>Sat, 18 Nov 2017 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2017-paths-of-glory.html</guid></item>

    <item><title>Dreyer's Ordet and the Resurrection That Does Not Arrive in Colour</title><link>https://silvernitratenotes.com/posts/2017-ordet.html</link><description>Carl Theodor Dreyer made Ordet (The Word, 1955) seven years after Day of Wrath. He had made one film in between, Two People (1945), which he disowned. Ordet was his return to the long, formal, unhurried cinema of Passion and Wrath.</description><pubDate>Fri, 25 Aug 2017 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2017-ordet.html</guid></item>

    <item><title>Anatomy of a Murder and Sam Leavitt's Courtroom</title><link>https://silvernitratenotes.com/posts/2017-anatomy.html</link><description>Otto Preminger directed Anatomy of a Murder (1959) on location in Marquette, Michigan. The cinematographer was Sam Leavitt (1904-1984), whom Preminger had worked with on The Man with the Golden Arm (1955) and would work with again.</description><pubDate>Tue, 11 Jul 2017 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2017-anatomy.html</guid></item>

    <item><title>James Wong Howe and the Cold Lights of Manhattan</title><link>https://silvernitratenotes.com/posts/2017-sweet-smell.html</link><description>Howe lit the streets to look like the streets.</description><pubDate>Fri, 02 Jun 2017 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2017-sweet-smell.html</guid></item>

    <item><title>Bringing Up Baby and the Speed of Hawks Without His Usual Lighting</title><link>https://silvernitratenotes.com/posts/2017-bringing-up-baby.html</link><description>Howard Hawks directed Bringing Up Baby (1938) for RKO with Russell Metty (whom we will meet later on Touch of Evil) as cinematographer. The film was a commercial failure on release. The studio cut Hawks's contract immediately afterwards.</description><pubDate>Wed, 19 Apr 2017 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2017-bringing-up-baby.html</guid></item>

    <item><title>La Règle du Jeu and the Depth of the Staircase</title><link>https://silvernitratenotes.com/posts/2017-rules-of-the-game.html</link><description>Bachelet's deep focus two years before Toland.</description><pubDate>Mon, 27 Feb 2017 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2017-rules-of-the-game.html</guid></item>

    <item><title>Kurosawa's Ikiru and the Bureaucrat's Coat</title><link>https://silvernitratenotes.com/posts/2016-ikiru.html</link><description>Nakai's photography of Shimura in a black overcoat is the best single-actor photography of any Kurosawa film.</description><pubDate>Wed, 09 Nov 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-ikiru.html</guid></item>

    <item><title>Cat People and What You Do Not See</title><link>https://silvernitratenotes.com/posts/2016-cat-people.html</link><description>Jacques Tourneur directed Cat People (1942) for Val Lewton's small horror unit at RKO. Lewton had been told by the studio to deliver low-budget genre films with sensational titles. He took the titles and made the films into something else.</description><pubDate>Fri, 30 Sep 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-cat-people.html</guid></item>

    <item><title>Umberto D and the Last Days of Neorealism</title><link>https://silvernitratenotes.com/posts/2016-umberto-d.html</link><description>Vittorio De Sica's Umberto D (1952) is, by most accounts, the last proper Italian neorealist film. The movement had been losing momentum since around 1949.</description><pubDate>Sun, 28 Aug 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-umberto-d.html</guid></item>

    <item><title>Mizoguchi's Ugetsu and the Crossing of the Lake</title><link>https://silvernitratenotes.com/posts/2016-ugetsu.html</link><description>Miyagawa photographs the lake crossing in a single long take that refuses to mark the supernatural.</description><pubDate>Mon, 11 Jul 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-ugetsu.html</guid></item>

    <item><title>Psycho and the Shower Sequence as Editing Argument</title><link>https://silvernitratenotes.com/posts/2016-psycho.html</link><description>Alfred Hitchcock made Psycho (1960) with his own money when Paramount refused to finance it. He shot the film on a reduced budget of around $800,000 using his television crew from Alfred Hitchcock Presents. The cinematographer was John L.</description><pubDate>Fri, 27 May 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-psycho.html</guid></item>

    <item><title>Strangers on a Train and the Geometry of the Carousel</title><link>https://silvernitratenotes.com/posts/2016-strangers-on-a-train.html</link><description>Burks's first Hitchcock. The carousel sequence as technical triumph.</description><pubDate>Tue, 05 Apr 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-strangers-on-a-train.html</guid></item>

    <item><title>Seven Samurai and the Weather</title><link>https://silvernitratenotes.com/posts/2016-seven-samurai.html</link><description>Kurosawa did not wait for weather. He manufactured it.</description><pubDate>Fri, 19 Feb 2016 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2016-seven-samurai.html</guid></item>

    <item><title>Paisan and Six Stories of Liberation</title><link>https://silvernitratenotes.com/posts/2015-paisan.html</link><description>Rossellini followed Rome, Open City with Paisan (1946), a six-episode film that tracks the Allied advance up the Italian peninsula from Sicily in 1943 to the Po Valley in 1944.</description><pubDate>Thu, 10 Dec 2015 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2015-paisan.html</guid></item>

    <item><title>Robert Krasker and the Tilted Vienna</title><link>https://silvernitratenotes.com/posts/2015-third-man.html</link><description>The Dutch tilts are a statement about what a film can know about a place.</description><pubDate>Sun, 04 Oct 2015 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2015-third-man.html</guid></item>

    <item><title>Duck Soup and the Mirror Scene</title><link>https://silvernitratenotes.com/posts/2015-duck-soup.html</link><description>McCarey's wide takes held the Marx Brothers in the same frame as their targets.</description><pubDate>Fri, 14 Aug 2015 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2015-duck-soup.html</guid></item>

    <item><title>Rebecca and Hitchcock's First American Film</title><link>https://silvernitratenotes.com/posts/2015-rebecca.html</link><description>Alfred Hitchcock made Rebecca (1940) at Selznick International Pictures, his first American film.</description><pubDate>Thu, 02 Jul 2015 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2015-rebecca.html</guid></item>

    <item><title>Out of the Past and Nicholas Musuraca's Night</title><link>https://silvernitratenotes.com/posts/2015-out-of-past.html</link><description>The bar scene in Acapulco is a continuous darkening of the frame.</description><pubDate>Fri, 22 May 2015 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2015-out-of-past.html</guid></item>

    <item><title>Bride of Frankenstein and John J. Mescall's Crown</title><link>https://silvernitratenotes.com/posts/2015-bride-of-frankenstein.html</link><description>James Whale's Bride of Frankenstein (1935) is, on most lists, the better of the two Whale Frankenstein pictures. Whale himself is reputed to have agreed. The cinematographer this time was John J.</description><pubDate>Thu, 12 Mar 2015 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2015-bride-of-frankenstein.html</guid></item>

    <item><title>Falconetti's Face</title><link>https://silvernitratenotes.com/posts/2014-falconetti.html</link><description>Dreyer gave his silent audience a face.</description><pubDate>Sat, 08 Nov 2014 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2014-falconetti.html</guid></item>

    <item><title>The Wind and Lillian Gish on the Mojave</title><link>https://silvernitratenotes.com/posts/2014-wind.html</link><description>Victor Sjöström (1879-1960), the Swedish director who would later play the lead role in Bergman's Wild Strawberries, made The Wind (1928) at MGM in his final American film as director.</description><pubDate>Tue, 23 Sep 2014 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2014-wind.html</guid></item>

    <item><title>Rossellini's Rome Open City and the Film Shot in Rubble</title><link>https://silvernitratenotes.com/posts/2014-rome-open-city.html</link><description>Roberto Rossellini (1906-1977) began shooting Rome, Open City in January 1945, two months before the Germans retreated from northern Italy and nine months before the war ended.</description><pubDate>Sat, 30 Aug 2014 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2014-rome-open-city.html</guid></item>

    <item><title>King Kong and the Empire State Composite</title><link>https://silvernitratenotes.com/posts/2014-king-kong.html</link><description>O'Brien's stop-motion and Walker's effects photography saved RKO from bankruptcy.</description><pubDate>Wed, 18 Jun 2014 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2014-king-kong.html</guid></item>

    <item><title>The Lady Vanishes and the Compartment That Forgot</title><link>https://silvernitratenotes.com/posts/2014-lady-vanishes.html</link><description>Alfred Hitchcock directed The Lady Vanishes (1938) at Gaumont-British in his last year of British production before his move to Hollywood. The cinematographer was Jack Cox, a regular Hitchcock collaborator.</description><pubDate>Mon, 05 May 2014 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2014-lady-vanishes.html</guid></item>

    <item><title>Huston's Maltese Falcon and the Close-up Conversation</title><link>https://silvernitratenotes.com/posts/2014-maltese-falcon.html</link><description>Huston threw away the backgrounds. Edeson lit Bogart from the side.</description><pubDate>Sun, 16 Mar 2014 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2014-maltese-falcon.html</guid></item>

    <item><title>Renoir's La Grande Illusion and the Class War of Officers</title><link>https://silvernitratenotes.com/posts/2013-grande-illusion.html</link><description>The visual register tells us the world of uniforms is ending.</description><pubDate>Mon, 25 Nov 2013 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2013-grande-illusion.html</guid></item>

    <item><title>It Happened One Night and the Walls of Jericho</title><link>https://silvernitratenotes.com/posts/2013-it-happened-one-night.html</link><description>Capra's motel-scene workaround for the Production Code.</description><pubDate>Fri, 30 Aug 2013 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2013-it-happened-one-night.html</guid></item>

    <item><title>The Crowd and the Camera Out the Window</title><link>https://silvernitratenotes.com/posts/2013-crowd.html</link><description>King Vidor (1894-1982) directed The Crowd (1928) at MGM with Henry Sharp (1892-1966) as cinematographer.</description><pubDate>Wed, 19 Jun 2013 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2013-crowd.html</guid></item>

    <item><title>Les Enfants du Paradis Under Occupation</title><link>https://silvernitratenotes.com/posts/2013-les-enfants.html</link><description>Shot in Nice in 1943 with half the crew in hiding.</description><pubDate>Mon, 22 Apr 2013 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2013-les-enfants.html</guid></item>

    <item><title>Hitchcock's 39 Steps and the Handcuffed Run</title><link>https://silvernitratenotes.com/posts/2013-39-steps.html</link><description>Alfred Hitchcock directed The 39 Steps (1935) at Gaumont-British, in the middle of his English period.</description><pubDate>Mon, 18 Mar 2013 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2013-39-steps.html</guid></item>

    <item><title>The Blue Angel and the Two Cuts of Der Blaue Engel</title><link>https://silvernitratenotes.com/posts/2013-blue-angel.html</link><description>Sternberg trained the audience to look at Dietrich as an object that resists clear viewing.</description><pubDate>Tue, 05 Feb 2013 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2013-blue-angel.html</guid></item>

    <item><title>The Magnificent Ambersons and the Film RKO Destroyed</title><link>https://silvernitratenotes.com/posts/2012-ambersons.html</link><description>Orson Welles's The Magnificent Ambersons (1942) is, in its released form, not the film Welles made. Welles shot, cut, and scored a 131-minute version that he was happy with.</description><pubDate>Fri, 14 Dec 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-ambersons.html</guid></item>

    <item><title>His Girl Friday at 240 Words a Minute</title><link>https://silvernitratenotes.com/posts/2012-his-girl-friday.html</link><description>Hawks uses the wide two-shot the way other directors use cross-cutting.</description><pubDate>Sun, 28 Oct 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-his-girl-friday.html</guid></item>

    <item><title>Wings and the First Aerial Cinema</title><link>https://silvernitratenotes.com/posts/2012-wings.html</link><description>William A. Wellman directed Wings (1927) for Paramount on a budget of around $2 million, much of it spent on twenty-eight aircraft, two military airfields, and the cooperation of the US Army Air Corps.</description><pubDate>Thu, 13 Sep 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-wings.html</guid></item>

    <item><title>Pandora's Box and the Face of Louise Brooks</title><link>https://silvernitratenotes.com/posts/2012-pandoras-box.html</link><description>Brooks's face is, on screen, a brightness in a room. She is weather.</description><pubDate>Mon, 23 Jul 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-pandoras-box.html</guid></item>

    <item><title>L'Atalante and Jean Vigo's River</title><link>https://silvernitratenotes.com/posts/2012-atalante.html</link><description>Jean Vigo (1905-1934) made L'Atalante (1934) while dying of tuberculosis. He finished the shoot too ill to supervise the editing.</description><pubDate>Thu, 14 Jun 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-atalante.html</guid></item>

    <item><title>12 Angry Men and the Shrinking Room</title><link>https://silvernitratenotes.com/posts/2012-12-angry-men.html</link><description>Lumet and Kaufman's solution to a single-room film was to make the room shrink.</description><pubDate>Wed, 09 May 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-12-angry-men.html</guid></item>

    <item><title>Whale's Frankenstein and Arthur Edeson's First Monster</title><link>https://silvernitratenotes.com/posts/2012-frankenstein.html</link><description>Edeson invented, for all practical purposes, the visual grammar of the American horror film.</description><pubDate>Tue, 14 Feb 2012 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2012-frankenstein.html</guid></item>

    <item><title>Chaplin's City Lights and the Refusal of Sound</title><link>https://silvernitratenotes.com/posts/2011-city-lights.html</link><description>Chaplin made a silent film in 1931. The industry told him he was a fool. He did it anyway.</description><pubDate>Thu, 08 Dec 2011 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2011-city-lights.html</guid></item>

    <item><title>The Last Laugh and Karl Freund's Camera Off the Wall</title><link>https://silvernitratenotes.com/posts/2011-last-laugh.html</link><description>F.W. Murnau's The Last Laugh (Der letzte Mann, 1924) is the film in which the unchained camera was, for the first time, fully unchained.</description><pubDate>Fri, 04 Nov 2011 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2011-last-laugh.html</guid></item>

    <item><title>Lang's M and the First Whistle in Cinema</title><link>https://silvernitratenotes.com/posts/2011-m.html</link><description>Lang and Wagner worked out asynchronous sound in 1931.</description><pubDate>Wed, 14 Sep 2011 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2011-m.html</guid></item>

    <item><title>Brief Encounter and the Platform That Does Not Move</title><link>https://silvernitratenotes.com/posts/2011-brief-encounter.html</link><description>David Lean (1908-1991) directed Brief Encounter (1945) from a Noël Coward one-act, Still Life, that Coward had expanded into a full screenplay.</description><pubDate>Sun, 05 Jun 2011 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2011-brief-encounter.html</guid></item>

    <item><title>Steamboat Bill Jr and the House Falls</title><link>https://silvernitratenotes.com/posts/2011-steamboat.html</link><description>Buster Keaton's Steamboat Bill, Jr. (1928) was his last fully independent production. The following year, his contract was sold to MGM, and he never again had directorial control over his own material. Steamboat Bill, Jr.</description><pubDate>Sat, 30 Apr 2011 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2011-steamboat.html</guid></item>

    <item><title>Murnau's Sunrise and the Unchained Camera</title><link>https://silvernitratenotes.com/posts/2011-sunrise.html</link><description>Sunrise extended the unchained camera on a scale Hollywood had not seen.</description><pubDate>Wed, 23 Mar 2011 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2011-sunrise.html</guid></item>

    <item><title>Greed and the Eight-Hour Cut</title><link>https://silvernitratenotes.com/posts/2010-greed.html</link><description>Erich von Stroheim's Greed (1924) was, in its director's cut, ten hours long. MGM, who had inherited the production when Goldwyn merged into the new studio, found the runtime unacceptable.</description><pubDate>Thu, 23 Dec 2010 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2010-greed.html</guid></item>

    <item><title>Nosferatu and the Light Schreck Walked Into</title><link>https://silvernitratenotes.com/posts/2010-nosferatu.html</link><description>Wagner photographed Wismar in underexposed afternoon daylight.</description><pubDate>Tue, 02 Nov 2010 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2010-nosferatu.html</guid></item>

    <item><title>Chaplin's Modern Times and the Last Silent Film</title><link>https://silvernitratenotes.com/posts/2010-modern-times.html</link><description>Chaplin directed Modern Times (1936) nine years after The Jazz Singer had made sound mandatory, five years after he had refused sound for City Lights, and sold it to the public as his final bow to silent cinema.</description><pubDate>Wed, 08 Sep 2010 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2010-modern-times.html</guid></item>

    <item><title>Safety Last and Harold Lloyd on the Clock</title><link>https://silvernitratenotes.com/posts/2010-safety-last.html</link><description>Harold Lloyd (1893-1971) was, through the 1920s, more commercially successful than either Chaplin or Keaton. His films made more money. His films also had fewer pretensions. Safety Last! (1923), directed by Fred C.</description><pubDate>Thu, 22 Jul 2010 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2010-safety-last.html</guid></item>

    <item><title>Caligari and the Question of Tinting</title><link>https://silvernitratenotes.com/posts/2010-caligari.html</link><description>A reader asked whether Caligari qualifies for this site. Here is what I think.</description><pubDate>Fri, 18 Jun 2010 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2010-caligari.html</guid></item>

    <item><title>Sherlock Jr and the Projectionist's Dream</title><link>https://silvernitratenotes.com/posts/2010-sherlock-jr.html</link><description>Keaton walks into the screen and the backgrounds change around his fixed body.</description><pubDate>Mon, 01 Mar 2010 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2010-sherlock-jr.html</guid></item>

    <item><title>Stagecoach and the Death of the Western Backlot</title><link>https://silvernitratenotes.com/posts/2009-stagecoach.html</link><description>Ford delivered Monument Valley.</description><pubDate>Thu, 12 Nov 2009 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2009-stagecoach.html</guid></item>

    <item><title>Murnau's Faust and the Sky as Architecture</title><link>https://silvernitratenotes.com/posts/2009-faust.html</link><description>F.W. Murnau directed Faust (1926) at UFA the year before he left for America to make Sunrise. It was his last German film, and the largest production of his career to that point.</description><pubDate>Fri, 21 Aug 2009 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2009-faust.html</guid></item>

    <item><title>Chaplin's The Kid and the First Feature</title><link>https://silvernitratenotes.com/posts/2009-kid.html</link><description>Charlie Chaplin's The Kid (1921) was his first feature-length film. He had been making two-reel shorts at Mutual and First National for six years.</description><pubDate>Wed, 15 Jul 2009 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2009-kid.html</guid></item>

    <item><title>Lang's Metropolis and the Lost Reel</title><link>https://silvernitratenotes.com/posts/2009-metropolis.html</link><description>For eighty years, Metropolis existed as a film whose reputation was larger than any surviving print. Then Buenos Aires opened a closet.</description><pubDate>Wed, 17 Jun 2009 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2009-metropolis.html</guid></item>

    <item><title>Eisenstein's Odessa Steps and the Grammar of Editing</title><link>https://silvernitratenotes.com/posts/2009-potemkin.html</link><description>The film that worked out what cutting between shots can do.</description><pubDate>Fri, 03 Apr 2009 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2009-potemkin.html</guid></item>

    <item><title>Nanook of the North and the Documentary Lie</title><link>https://silvernitratenotes.com/posts/2009-nanook.html</link><description>The first feature-length documentary is also, by modern standards, a staged film.</description><pubDate>Tue, 10 Feb 2009 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2009-nanook.html</guid></item>

    <item><title>Keaton's The General and Gravity</title><link>https://silvernitratenotes.com/posts/2008-general.html</link><description>Keaton submits to physics and finds comedy in what happens when a human body meets a machine that does not care.</description><pubDate>Fri, 05 Dec 2008 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2008-general.html</guid></item>

    <item><title>what this is</title><link>https://silvernitratenotes.com/posts/2008-welcome.html</link><description>First post. The plan, the focus, the reading list.</description><pubDate>Sat, 11 Oct 2008 09:00:00 +1000</pubDate><guid isPermaLink="true">https://silvernitratenotes.com/posts/2008-welcome.html</guid></item>

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