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Lang stages a rare complex camera movement here.
She then rushes out and does what he considered doing, but decided not.
Such darkness is a bit unusual.
The jeweled pin the hero gives the heroine, is made out of a few straight lines.
There is also an umbrella on the outdoor patio.It also makes the heroes' lives look less determined by their environments here.Brotherhood organizations for young men had long been immensely popular among German speaking peoples in Austria and Germany.Human Desire evokes the traditions of both films.These are the only polygons linked to Ford, but his spaces also tend to form "complex rectilinear regions".John Cromwell directed the 1951 film version of The Racket, as well as starring in the play on Broadway in 1927 as the policeman, opposite Edward.The "crooks who love and protect kids" idea is given a dark twist and parody here in M : it is one of the motives for the underworld leading its manhunt against the child-murderer.House by the River House by the River (1950) is Fritz Lang's first period film, aside from Westerns, since Die Niebelungen (1924) and Destiny (1921).Towards the end, a sweeping black check starbucks gift card balance canada curtain falls from an entrance alcove, making the giant room seem even more box like.

The two groups are totally different morally and politically.
Lang often shoots through the windows of the summer house: shooting through windows and other "frames within the frames" was common in Spies.
She wears serious suits, drives a car, talks tough, and in general tries to act mannish.
The side shots from the passenger windows tend to show buildings and towns, not wild nature.This scene recalls the water imagery of the dream that opens Secret Beyond the Door.On the one hand, it can be argued that this is implicitly racist: the heroine is discovered to be a suitable marriage partner for the hero, because she is European.Organized protests from black labor unions and Civil Rights organizations against Hollywood stereotypes forced Hollywood executives to make a change.Here it is the hero's sister.There are brief pocket discussions of many of Lang's screenwriters.He is a sort of walking Arrow Collar ad, whose very perfection of grooming suggests a certain superficiality and devotion to social convention.This is similar to the actual fountains in Destiny, Manhunt and The Tiger of Eschnapur.A good deal of the film concerns money.

Lang would almost certainly have seen it and been familiar with.
In his next to last scenes in the film, we finally see the young hero in a suit.