Wednesday, August 10, 2011


Other assorted thoughts while writing the previous essay:

1. Interesting that the image of the murder is drawn on the wall of the old house, preserved invincibly beneath the paint. It is difficult to image a realistic circumstance in which this picture could have been drawn on the wall and not seen by somebody else, but of course that isn't really relevant. This seems evident of another tendency which strikes me in DEEP RED, which is that The Truth Must Be Revealed, or perhaps The Truth Must Be Uttered. Haven't quite fleshed this idea out, but started thinking about this theme (a recurrent one in horror films) while watching John Carpenter's third best movie THE FOG a couple of weeks ago. A secret can never lie still. In DEEP RED, Helga Ulmann refers to thoughts of a crime hanging around a place like cobwebs-- it lingers past the presence of the murderer, and rises to the surface of its own accord. In THE FOG, clues literally disgorge themselves from the walls into the public stage. In DEEP RED, it's as if the building inscribes itself with a memory of the crime.

There is something going on here with mouths as well. Mouths do all sorts of spewing and getting bashed in over the course of DEEP RED. Something to do with the fact of uttering, perhaps? Those that know the crime must lost their ability to speak? Both Helga and the killer release liquid from their mouths, what is the parallel there?

2. I realize that there is a kind of scene that I always enjoy, which is when we get to watch a character have an idea and put something together without getting too far inside their heads. The scene with Dr. Giordani in the bathroom is a really good example of this, and really captures the excitement of things clicking in your mind. Other similar sequences of note: Travolta matching his tape to the photographs in De Palma's BLOW OUT. McNulty and Bunk figuring out the trajectory of the bullet in the "fuck" scene during the first season of THE WIRE? Others that come to mind?

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