Blast of Silence (1960) Tonight!

[MissGoddess]

Thank you, Arkadin. I avoided using the term nihilism because I didn't want to jump
to the conclusion that this movie was proposing that viewpoint but I guess it clearly
does. I guess that is my fundamental problem with it---such a theory doesn't hold
up with me since it refuses to consider too many related but important questions.

You/the film says: He does not cultivate friendships because of the liabilities involved.

What liabilities? When? You mean after he became a hit man? What about the liabilities
of a woman? He was willing to risk that. What about the friend? Why didn't he follow up
with Frankie? That was weird. Not unbelievable, though.

I was astonished by one thing---his reaction to the man he worked for. Did his anger
arise because the man was responsible for what happened to his wife and daughter?
That wasn't clear to me. If he was responsible, well, then that's pretty traumatizing,
I agree.

I wasn't asking for literal questions, sorry for the confusion---I mean in the context
of the film and you've now explained it, thank you.

I still say, why would anyone want to entertain such a point of view unless they had
been scarred like Frankie? I wonder about that.

[Mr. Arkadin]

Let's take those questions in reverse:

I still say, why would anyone want to entertain such a point of view unless they had
been scarred like Frankie? I wonder about that

Throughout the film, it's obvious that Frankie has been deeply hurt emotionally. His defense mechanism is to withdraw from others, which explains why he is so awkward socially. Hatred drives him. The voice-over of his thoughts is rough and harsh while his speaking voice is soft, almost childish. I have met many people in life who sadly have Frankie's outlook.

I was astonished by one thing---his reaction to the man he worked for. Did his anger
arise because the man was responsible for what happened to his wife and daughter?
That wasn't clear to me. If he was responsible, well, then that's pretty traumatizing,
I agree.

I do not think he held the man responsible. He talked about running off to Florida with him. One of the few places Baron shows actual emotion, this is another circumstance that has shaped Frankie's fatalistic outlook. In Detour (1945) this would be alluded to as "fate sticking out a foot to trip you". All this explains the first question:

You/the film says: He does not cultivate friendships because of the liabilities involved.

What liabilities? When? You mean after he became a hit man? What about the liabilities
of a woman? He was willing to risk that. What about the friend? Why didn't he follow up
with Frankie? That was weird. Not unbelievable, though.

Connections mean physical danger for Frankie (as Fat Ralphie proves), but there's also the emotional danger. Frankie survives by his disattachment. He did not want to go with his friend initially. But like Mountain Rivera in Requiem for a Heavyweight (1962) he deludes himself into thinking things could be different for him. Life might not be a cesspool after all. This opens up emotions that he is unable to deal with and ultimately gets him killed. However, Frankie was spiritually dead long before the lead hit him. And he's Home Again.

[MissGoddess]

Throughout the film, it's obvious that Frankie has been deeply hurt emotionally. His defense mechanism is to withdraw from others, which explains why he is so awkward socially. Hatred drives him. The voice-over of his thoughts is rough and harsh while his speaking voice is soft, almost childish. I have met many people in life who sadly have Frankie's outlook.

I see that---but I won't go along with you that it is obvious. I didn't know about the man he worked for until
the middle of the film---before that there was only the hint that he was an orphan. Being an orphan doesn't
automatically make you filled with hate, nor does having a two-parent home automatically make you happy.

I just found his background was not clearly defined unless I was to make "assumptions" based on his "career"
and milieu. Some of the most cold hearted people live in comfort in the suburbs. But I'm being difficult, so
I accept that explanation that it was clear he had been royally screwed up in his childhood and beyond.

I do not think he held the man responsible. He talked about running off to Florida with him. One of the few places Baron shows actual emotion, this is another circumstance that has shaped Frankie's fatalistic outlook. In Detour (1945) this would be alluded to as "fate sticking out a foot to trip you". All this explains the first question:

Connections mean physical danger for Frankie (as Fat Ralphie proves), but there's also the emotional danger. Frankie survives by his disattachment. He did not want to go with his friend initially. But like Mountain Rivera in Requiem for a Heavyweight (1962) he deludes himself into thinking things could be different for him. Life might not be a cesspool after all. This opens up emotions that he is unable to deal with and ultimately gets him killed. However, Frankie was spiritually dead long before the lead hit him. And he's Home.

So does nihilism rule out absolutely anyone who would ever came into his life who could have helped him? Either way, this is a pretty depressing movie. I guess I have seen enough in life myself that could easily make me think that way to ever want to entertain it in a fiolm. That's why I persisted with the questions---this isn't a detached "exercise" for me as it may be for some, I know from the kind of pain this guy feels but I don't agree with fatalism.

[Mr. Arkadin]

So does nihilism rule out absolutely anyone who would ever came into his life who could have helped him? Either way, this is a pretty depressing movie. I guess I have seen enough in life myself that could easily make me think that way to ever want to entertain it in a fiolm. That's why I persisted with the questions---this isn't a detached "exercise" for me as it may be for some, I know from the kind of pain this guy feels but I don't agree with fatalism.

Not all films are for everyone, nor do they speak for them. I know of many people who have endured such physical and emotional distress that the only films they enjoy are comedies and I understand where they are coming from. I don't feel I have to personally agree with a movie to enjoy it.

Baron's film echoes bleak works such as Los Olvidados (1950) and anticipates films like The Shame (1968), or Black Ceasar (1973) which deal with the darker side of life. As to your original question: "Why make a movie like this?", perhaps some people gain solace in identifying with characters or their troubles. In other cases, it gives them a new perspective or outlook to understand humanity. For some it is realism, and for Allen Baron, perhaps it was a non-destructive way to excise personal demons. In any case, I've enjoyed chatting with you about the film and hope you have a pleasant evening.

[MissGoddess]

As to your original question: "Why make a movie like this?", perhaps some people gain solace in identifying with characters or their troubles. In other cases, it gives them a new perspective or outlook to understand humanity. For some it is realism, and for Allen Baron, perhaps it was a non-destructive way to excise personal demons. In any case, I've enjoyed chatting with you about the film and hope you have a pleasant evening.

I think it's a slice of realism, but not the whole pie so to speak, but I respect the filmaker's desire to communicate
his intent. i also think it's a pity he never really went on with features if only because he at least had something
to say that was his own particular view, and not just a calculated attempt at making a splash.

It's always a pleasure, Joel.

[charliechaplinfan]

3 years on I've watched the movie and absolutely loved it, not a second is wasted, it isn't a long film, it was so good I wished it was longer. Baron's portrayal of Frankie Bono is amazing, how does he take this misfit assassin and make me feel sorry for him? He's an orphan, never fitted in and is only comfortable alone, his contact with others, small though it is is distasteful to him. He bumps into an old boy of the orphanage who has a sister, the only person who seems to have touched his heart and against his better feelings he lets his guard down, it's Xmas day and has lunch with her, he misreads signals, makes an awkward pass at her. She at least gives him a human face, he's broken but she believes in his redemption, she doesn't condemn him for his quite vicious attempt to seduce her. His other significant contact is Big Ralph, another memorable performance in the film, this character reminds me so much of Welles and it's not just the size, it's the complexity, the seemingly harmless but obviously deadly Ralph. Things go wrong and my only criticism of the film is I saw the ending coming, perhaps that is the point, he's so disconnected with other people that he doesn't. I've never seen a noir film connected with Christmas, it's eerie to watch a murderer stalk his prey with decorations and carols as a backdrop. New York is very lovingly filmed, a feature, a character in the tale.

I looked him up on imdb but unlike John Cassavettes he didn't make any other films like this one. Perhaps the genre had passed, a pity because this is a great movie.

[Mr. Arkadin]

If you liked Blast of Silence (and read through this thread), you might enjoy the aforementioned Venus in Furs (Jess Franco's film) as a companion piece, and yes, there is a thread:

http://silverscreenoasis.com/oasis3/vie ... f=1&t=3503

[charliechaplinfan]

Thank you, you're a real wealth of information.