Ingmar Bergman's 1957 film The Seventh Seal

The photograph ends with him mockingly feel at her through the glass shards of a glass contend she threw her guitar through in a peak of emotion afterwards the exposure. The sexual and psychological tension throughout Gilda is taut alone this scene shows us Gilda being vulnerable and much her unfeigned self than we have seen at any m up to this point in the film. Whereas Johnny was left vulnerable at the end of the preceding scene, Gilda is the one who is vulnerable by the time the action unfolds in this one. While put on legion(predicate) critics classic film noir lists, this film is more a aflame love story than film noir particularly in its cheerful ending for the male and female protagonists. During this scene, which starts in Johnny's bedroom and shatters to a climax as much as the glass in the wall partition through which Gilda throws her guitar, Vidor uses optic and threatening instal custodyts to image the high degree of sexual and emotional tension among the pair before they arrive at their happy end.

The scene begins in Ballin's bedroom. Visually lighting is used quite effectively. It projects towards us from the rear and casts Johnny in a rectangular recession of light that not lonesome(prenominal) adds visual depth to the scene, scarce it also mirrors Johnny's psychological state because, as he has just informed us at the end of the last scene, he felt smothered by his inability to shake thoughts of Gilda from his mind. completely the rest of the room is black around this box of light, as all the world around Jo

Wolfenstein, M. Movies: A Psychological Study. The Free Press, 1950.

We pan in on Gilda who is softer and more vulnerable than we have seen her up to yet in the film. In other scenes when she is singing or dancing or music is involved she is being a sexual temptress and recklessly flaunting her feminine charms of which, as exceedingly well play by Rita Hayworth, there argon many. Of course, this is also a visual technique because Gilda is only pretending to be wicked, "When the heroine sings and dances at the hero's nightclub, it is only because he has driven her to desperation by his coldness. She does not approve the performance by which she excites other men, and is not interested in them" (Wolfenstein 270).

However, in this scene she is more of a sensual temptress, more her real self and the visuals are also softer. She seems a little melancholy and her voice is low and the tune is soft. Her singing of " adjust The Blame On Mame" at this point could have started a few fires from spontaneous combustion on its own as it certainly did among audience members. The aspect of the song being mellowed is a quality of timbre which is another sound element in overall sound technique, "When we call someone's voice skeletal or a certain musical tone mellow, we are referring to timbre. In everyday life, the recognition of a familiar sound is largely a matter of various aspects of timbre" (Bordwell et. al 296). We move from a hold shot on Gilda to Uncle Pio's reply and point-of-view. Uncle Pio's body is slumped helplessly against the gaming table, a visual attain that not only reinforces the early morning hours and the general fleshly weariness of a "janitor," but it also reinforces that most men are helpless when it comes to Gilda's presence. Vidor continues to use visual effects resplendently to enhance this image, and Gilda, after all, is about a cleaning woman who if she were a ranch would be called the "bar nothing;" a woman who few, if any men could resist.

After ex
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