The Blue Gardenia (1953)

A virtuosic, enigmatic well-structured murdur story which again puts an abandoned, drunk female character in the centre of incidents. Once she is forsaken, an eye level, direct close shot sets off the subsequent segments to happen reasonably. First, It gives a signal to the viewer upon who is the major character in the film, then secondly, it is done through non verbal language rather than verbal visionary method that is conducted to lay an emphasis on feminine aspect. Lang creates a situation in which an assumed miscreant who is in view of saving her honour and grace trapped in a more difficult situation. The sequence contains her and the married, ill-natured man, who does not miss a subtle chance of hooking up with women, with Norah, although might be to a certain degree boring but Lang was supposed to use the other option( music) to help what that meeting might be headed not to mention the shots shifted back and forth between the singer and the couple forming the third probable idea of happening an upcoming incident to the unsuspected woman. Lang plays games with the depth of knowledge of the three audiences; us as the main and outer/ non diegetic one, Norah's friends are as the inner or diegetic one and herself as the subject of knowledge changes which make a great contribution to keep the story intriguing to follow to the end. Lang does not put the development of the story on autopilot whilst there is such an option, on the contrary, he calls our expectation to fight once more at the end by another revelation of the obscure part of the occurrence.