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:
“Style is the dress of thoughts; and let them be ever so just, if your style is homely, coarse, and vulgar, they will appear to as much disadvantage, and be as ill received, as your person, though ever so well-proportioned, would if dressed in rags, dirt, and tatters.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”
—Cyril Connolly (1903–1974)
“It is the style of idealism to console itself for the loss of something old with the ability to gape at something new.”
—Karl Kraus (1874–1936)