IVIV (13) scene one question

[Peter Petto]

I agree that the noir conventions are the rhythm for all the riffs,  
and that may explain a lot of the overlap in the Doc-Bigfoot Venn.

But I don't really feel much fascism coming from the Swede. Do you?



On Nov 5, 2009, at 5:29 PM, Robin Landseadel wrote:

> I've mentioned this before—the relation between Doc 'n Bigfoot is  
> more like The Dude and Walter Sobchak. On a certain level they can  
> maintain social relations, on another they're spiritual antipodes.
>
> Another difference is that Doc 'n Bigfoot fulfill noir conventions,  
> Raymond Chandler's in particular. From the all-knowing, all-seeing  
> eye of the Wikipedia, from which all knowledge flows:
>
> 	In a letter to D. J. Ibberson, written 19 April 1951, Chandler
> 	noted among other things that Marlowe is 38 years old and was
> 	born in Santa Rosa, California. He had a couple of years at
> 	college and some experience as an investigator for an
> 	insurance company and the district attorney's office of Los
> 	Angeles County; he was fired from the D.A.'s office for
> 	insubordination (or, as Marlowe put it, "talking back"). The D.A.'s
> 	chief investigator, Bernie Ohls, is a friend and former colleague,
> 	and a source of information for Marlowe within law
> 	enforcement.
>
> http://en.wikipedia.org/wiki/Philip_Marlowe
>
> Information & irritation—it should be noted that their relation is  
> as uneasy as Doc & Bigfoot's. Of course, by the time we're in the  
> Los Angeles the Watts riots and Manson murders have left L.A.'s  
> police department in an even more fascist and fractured state than  
> it was during the era of "Bay City" and "L.A. Confidential."
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