Script Project: Day 3; The Maltese Falcon; Film Noir & Lighting

Lab:

Please continue writing your play scripts this morning. 

Period 2:

Film Noir:

Discuss what you learned about film noir from your homework. This morning, think/pair/share for 2-3 minutes on the topic. What did we find?

Here are a few things to watch for as we screen The Maltese Falcon:

1. A protagonist that is cynical or detached
2. A femme fatale who leads the protagonist astray
3. A mystery, crime, or use of suspense
4. A naive scapegoat to take the rap of some "crime"
5. Goons (hired criminals who give the protagonist a hard time)
6. Razor sharp dialogue
7. Reference and description of low key lighting

Lighting, Mise en Scene, & Film Techniques: 

3-point Lighting: key light, fill light, & backlight.

• Key light: light aimed at the subject of a shot. The brightest light used, usually.

1. High Key: lots of warm light. Bright. Often used in comedies, musicals, etc.
2. Low Key: lots of shadows. Often used in horror, mystery, or suspense genres, etc.

Both high and low key lighting can be used to create conflict or dualism: light/darkness in a scene is often used metaphorically/symbolically. Our eye will always look for light first so we can focus the attention of a viewer. 

• Fill light: softer light, usually aimed to contrast key light. Helps cut out shadows.
• Backlight: light aimed from behind the subject. Enhances the depth of a shot. Often causes a "glow" around an object or subject.

Lighting can also light a subject from above (top lighting) or below (under lighting). We use the terms harsh or hot lighting to describe light that is very bright, and soft lighting when it is not that intense. Both can be used in a shot to create contrast.

Chiaroscuro lighting refers to the contrast between high and low key lighting used to create an emotional effect in a photograph or painting.

• Lighting Techniques (for student filmmakers)
• How to shoot a Noir film (documentary; how-to)
• Mise en Scene (documentary; how-to)
• Let's learn a bit about cinematography. (Crash Course Film Production #11)

Let's put all this together as we view the film The Maltese Falcon (1941). 

The Maltese Falcon, directed and written for the screen by John Huston; cinematographer: Arthur Edeson.
Based on the novel by Dashiell Hammett (see handout and links for more details!)

• Humphrey Bogart as Sam Spade
• Mary Astor as Brigid O'Shaughnessy
• Gladys George as Iva Archer
• Peter Lorre as Joel Cairo
• Barton MacLane as Lt. of Detectives Dundy
• Lee Patrick as Effie Perrine
• Sydney Greenstreet as Kasper Gutman
• Ward Bond as Detective Tom Polhaus
• Jerome Cowan as Miles Archer
• Elisha Cook, Jr. as Wilmer Cook

As you watch the film, identify the tropes of film noir and pay attention to lighting. You can read the full script here at this link if interested.

HOMEWORK: None. If you did not get much of your script written, please catch up.