"Hardboiled" Model

All the way back in November, I received a project where the objective was to create a piece that reflected a pop culture that was not our own, based around the styles of the Machine Age and Film Noir etc, all very 40/50's era.

My original idea was to be loosely base upon T.S.Elliot's poem "The Wasteland: A Game of Chess", which I really liked and I thought I could fit it in with the project. I was going to focus on this part of the poem;

When Lil’s husband got demobbed, I said,
I didn’t mince my words, I said to her myself,
HURRY UP PLEASE ITS TIME
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there’s others will, I said.
Oh is there, she said. Something o’ that, I said.
Then I’ll know who to thank, she said, and give me a straight look.
HURRY UP PLEASE ITS TIME
If you don’t like it you can get on with it, I said,
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.)
The chemist said it would be alright, but I’ve never been the same.
You are a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
HURRY UP PLEASE ITS TIME
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot—
HURRY UP PLEASE ITS TIME
HURRY UP PLEASE ITS TIME
Goonight Bill. Goonight Lou. Goonight May. Goonight.
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.

 I thought it would suit really well as it could easily be turned into the story-line for a film noir. I did out  a few sketch for it and showed them to my lecturer, but I could tell he wasn't overly enthused about it. So I came up with a new idea for the model.

I got a lot of inspiration from Edward Hoppers "Nighthawks"

This became the sole image I based my project around really. For ages, I was completely lost as to what to do with it, but then after talking through it with my boyfriend I had my concept for the finished piece.

I decided to make a street. You would look down the street and there'd be two buildings on the left side; one very tall 40's style red brick building and attached to it would be the building based on "The Nighthawks". On the other side of the street would be a building similar to the tall building and it would have a car park the other side of it. The building on the left side would have part the wall cut out so you could look into an office of a private detective who is stood looking out through Venetian blinds (very film noir!). In the car park would be a car and two figures, one male and one female.

I came up with a whole story to set the scene for the model;

Private Detective Louis stands quietly by the window. He has been investigating Emily Rose and Rick Renault for some time now. He received an anonymous call that morning tipping him off that they would meet tonight. Straight away he had scoped out the place and had found himself a little office where he had a good view of the car park and the cafe across the road. He was sure this was the place. There was no doubt in his mind. He watched patiently out his window, through the blinds. Night fell and all was still. Rick was the first to arrive, in his new car. Louis's palms began to sweat from a mix of nerves and anticipation. All his work, everything he'd done, hangs on this one night. It wouldn't be long now. . . 

Hidden in the shadows, she watches Rick furtively. She knows what she must do now but the thought still makes her feel sick in the pit of her stomach. She loves him. But he cannot live. It's too much of a risk. He could jeopardise everything for her.

She steps out of the shadows and Rick turns to greet her, a nervous smile on his face. She reaches into her coat, nervously grasps the gun concealed in her jacket. But then, her mind made up, she takes a tight hold on it. . . .

So now the scene is all set I'll start with some pics of the makings of my "Hardboiled" model.