Hangmen Also Die

1943 war propoganda from Fritz Lang, key early noir
plot is exciting, in Lang's classical way
lovely early on sweeping pans down to the action, very 'Kane'-esque
use of dramatic framings and angles in this, looming Hitler etc
occurs in short scenes, simple dialogue heavy
silent director; use of simple scenes in known locations
with bare, almost expressionist sets; white or blacks walls, few props
framings of jagged edges as even more expressionist than parts of 'Metropolis', etc
Expressionsit lighting is the real key here
very dark around all the edges (of sets/rooms), deep noir (faces are lit three-point)
use of overhead lighting, but casting of shadows, side lighting as well
use of shadows and so on/ sillouhetted figures
generally very low key lighting
high contrast black and white
very striking images with these noir tropes
plot is exciting, fast, a little unbelievable at times
deep humanism of solidarity in moral dilemma situation
brutally complicated plot at times feels very noir esque
space is simply created; Lang's silent-era use of still camera here
not much 'ping pong', long takes from wider when talking
really great economical use of camera here, establishes space wonderfully
constantly striking, with the beauty that perhaps only the silent cinema could have
a little hoary, yes, and the visuals are not too complicated, but very special looking