Style
The 1965 film The Money Trap portrays elements of the classic film making style known as noir. The black and white film uses the theme of a simple man (Joe Baron) drawn into crime and corruption for materialistic needs.
The Money Trap was one of the last noir films mad e after the style had first erupted in the 1940’s. Not only does the main plot showcase a common noir film theme but the subplot that exists in the movie portrays a theme that proves The Money Trap to qualify as a noir film.
The subplot starts off with Joe Baron and his partner heading to the crime scene of a woman being hung by her husband for participating in sexual relationships for money (Prostitution). They later show that she has a daughter that her husband loved very much. On the day of their daughter’s birthday the girl’s father chooses to meet up and spend the day with her. At the end of the day Joe Baron arrests the man whilst the young girl is left to question about the actions that took place on her birthday. This small yet crucial storyline displays the theme of the happiness in a filmic perspective being never lasting.
Another example of the noir film technique being implemented is in the last seen where injured Joe Baron (Glenn Ford) turns all the lights on and looks over his large garden, swimming pool and beautiful house symbolizing all the materialistic needs that he chose to act unethically for.
Read more about this topic: The Money Trap
Famous quotes containing the word style:
“A church that can never have done with excommunicating Christ while it exists! Away with your broad and flat churches, and your narrow and tall churches! Take a step forward, and invent a new style of out-houses. Invent a salt that will save you, and defend our nostrils.”
—Henry David Thoreau (1817–1862)
“I never knew a writer yet who took the smallest pains with his style and was at the same time readable.”
—Samuel Butler (1835–1902)
“The difference between style and taste is never easy to define, but style tends to be centered on the social, and taste upon the individual. Style then works along axes of similarity to identify group membership, to relate to the social order; taste works within style to differentiate and construct the individual. Style speaks about social factors such as class, age, and other more flexible, less definable social formations; taste talks of the individual inflection of the social.”
—John Fiske (b. 1939)