Our censors go off at the oddity but hers do not. He informs her that the two man who inquired after him have never met him before despite being “friends”. It’s clear from the conversation that this woman has no previous relation to the young man but she dotes on him regardless, treating him like one of the children playing outside. A motherly figure enters and informs that him that two of his “friends” showed up and asked for him. The camera pans to a stack of bills next to him and underneath he has a lot of money but doesn’t care about it. We go to a shot of a young man sleeping in a room. This tranquility is broken by the next shots: canted images of a doorway followed by a window – a darkness hiding under the innocence. We cut to children playing in a street – an image of innocence. Despite having a “canted” interior, Uncle Charlie has a childlike presentation that immediately makes him endearing. In spite of not knowing him anymore than as a tenant, the landlady treats him like a child and takes care of him. He lies on a bed surrounded with money, suggesting both his wealth and lack of concern with it. The establishing shot of children playing on the street suggest innocence, but this idea gives way quickly as we cut to canted angles closer to our subject.
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