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:
“I concluded that I was skilled, however poorly, at only one thing: marriage. And so I set about the business of selling myself and two children to some unsuspecting man who might think me a desirable second-hand mate, a man of good means and disposition willing to support another man’s children in some semblance of the style to which they were accustomed. My heart was not in the chase, but I was tired and there was no alternative. I could not afford freedom.”
—Barbara Howar (b. 1934)
“The habit some writers indulge in of perpetual quotation is one it behoves lovers of good literature to protest against, for it is an insidious habit which in the end must cloud the stream of thought, or at least check spontaneity. If it be true that le style c’est l’homme, what is likely to happen if l’homme is for ever eking out his own personality with that of some other individual?”
—Dame Ethel Smyth (1858–1944)
“Many great writers have been extraordinarily awkward in daily exchange, but the greatest give the impression that their style was nursed by the closest attention to colloquial speech.”
—Thornton Wilder (1897–1975)