Kim Walks Amuck
Sometimes you just want to grab a shot, isolate it, and hold it up to the light. A walk, a mermaid dress, an elegant camera move. In this case, for some reason the soundtrack refused to come with it, so we have to do without.
The first time I watched THE MAN WITH THE GOLDEN ARM I was bothered by the unconvincing, claustrophobic sets. This time round, I had the experience of having been to New York and the production design seemed to capture something authentic about the place — perhaps that very enclosed feeling. Though director Otto Preminger would abandon the studio, pretty much (that last scene in THE HUMAN FACTOR seems to violate his locations-only rule about as brazenly as you could wish for), his earlier films do make sensational use of the ability to film interior and exterior in the same shot, something that’s tricky out in the real world unless you have very bright lights to make the stuff indoors almost as bright as the stuff outdoors.