Jon Severino

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About Jon Severino

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  1. The first that came to my mind, but BrianBlake beat me to it, was: Mulholland Drive. So here are some others: The Shining Silver Streak Foul Play Pulp Fiction The Man Who Wasn’t There The Bride Wore Black Crimes and Misdemeanors The Lady from Shanghai The French Connection Some Like It Hot
  2. 1. What's with all the trains? 2. Can these films be thought of as love stories with a metaphorical suspense story making their whole plots into a MacGuffin? 3. There's several Shakespeare quotes in Hitch's work. Are these passing or was Hitch heavily influenced by The Bard?
  3. All the Cameos

    Every HItchcock cameo taken from the description of: The Lodger: A Story of London Fog- 2 cameos! Clip 1: The man shouting into the phone in the bottom center, Clip 2: in the middle of the crowd with the fake beard Easy Virtue- walking with a cane on the right Blackmail- sitting on the left being harassed by a child (one of his longest cameos) Murder! - walking across the shot from left to right The 39 Steps- walking to the right and tossing a piece of paper on the ground Young and Innocent- to the left fiddling with a camera (another of Hitchcock's longest) The Lady Vanishes- walking to the left smoking a cigar and shrugging his shoulders Rebecca- in the background walking to the left wearing a bowler hat Foreign Correspondent- reading a newspaper on the left Mr. and Mrs. Smith- walking from left to right as the camera pulls out Suspicion- 2 cameos! clip 1: leading the horse, clip 2: mailing a letter in the background Saboteur- top left corner under the light bulb Shadow of a Doubt- playing cards with the doctor Lifeboat- in the ad for Reduco "the obesity slayer" Spellbound- leaving the elevator smoking a cigar and carrying a violin case Notorious- drinking champagne The Paradine Case- on the right, smoking a cigar and carrying a cello case Rope- walking on the sidewalk in a blue suit and holding a newspaper Under Capricorn- 2 cameos! clip 1 in a blue suit, brown pants and top hat in the middle of the frame, clip 2 same outfit in the middle of a group of 3 people Stage Fright- on the right turning and looking at the main character Strangers on a Train- boarding the train with a stand up bass I Confess- walking across the horizon Dial M for Murder- sitting at the table in the picture Rear Window- winding the clock in the piano player's apartment To Catch a Thief- Sitting on the right in the bus The Trouble With Harry- walking on the left in a trench coat The Man Who Knew Too Much- standing the bottom left of the crowd The Wrong Man- This cameo is different. Because The Wrong Man is based on the experiences of a real person Hitchcock wanted to approach the whole thing differently. Vertigo- walking from left to right carrying a trumpet case North By Northwest- failing to catch a bus Psycho- in the window wearing a cowboy hat The Birds- walking his real-life dogs out of the pet shop Marnie- exiting a room on the left and looking directly at the camera Torn Curtain- holding a small child on his knee Topaz- sitting in a wheelchair and then standing up to shake hands with someone Frenzy- 2 cameos! clip1: in the middle of the crowd wearing a bowler hat, clip 2 same hat in the bottom center Family Plot- silhouette seen in in the window of Registrar of Births & Deaths
  4. DAILY DOSE #20 (Frenzy). DYING THAMES FOR MURDER: 1. While both Frenzy and The Lodger puts us with a frightened public over a murdered blonde, Frenzy gets us there quicker and establishes a realistic (travelogue) tone. 2. Common Hitch touches include: a long continuous shot, placing the viewer within a crowd, a murdered blonde, and establishing the genre early (even if it's undercut later). 3. In addition to all of the above, even starting with the opening credits, Hitch tried to grab the attention of the viewer early with action and tends to handle exposition visually rather than verbally (showing not telling).
  5. DAILY DOSE #19 (Marnie). THE TROUBLE WITH HAIR DYE: 1. The Fake IDs suggests she's a con artist. 2. The score begins melodramatically but shifts to tones of rebirth with the new hair color. 3. Hitch is caught ogling Tippi who could refer to their last film together as: The Gooses.
  6. DAILY DOSE #18 (The Birds). FINE FEATHERED FRENZY: 1. As Melanie and Mitch flirt while discussing love birds, we expect that's what they'll become. 2. The outside flock sounds ominous; the inside, cheerful. Also a boy wolf whistles his own bird call. 3. Hitchcock's cameo of being walked by his dogs suggests the tether between pet and owner.
  7. DAILY DOSE #17 (Psycho) PERVERTIGO: 1. The title score foreshadows the pierce shower stabbing sounds; the graphics suggest schizoid fragmentation. 2. The opening birds-eye view with date & time mimics a "names-have-been-changed" police procedural and the camera entering through the blinds gives us an omniscient (director's) POV like Rear Window--making us, like Jeff, voyeurs. 3. The bedroom scene seems tame by today's Two Broke Girls standards. You know Marion is the lead because she's making all the decisions having a strong sense of morals but human enough to struggle with them.
  8. DAILY DOSE #16 (NXNW). ENTERTAINERS ON A TRAIN: 1. Because they're recognized as Hollywood stars, we know they're attractive and have loose morals. 2. Where there's a flame, there's fire. 3. The background music is melodramatic but the witty repartee undercuts its sentimentality.
  9. DAILY DOSE #15 (Vertigo). QUESY VIRTUAL: 1. The minor arpeggio and sharp discordant brass accents along with the fade into hypnotic spirals suggest this will be a psychological thriller. 2. The zoom to the tearing eye when the screen turns red with the sharp brass suggests despair and murder. 3. While the graphics suggests psychological disorientation, the music creates an air of suspense, tension and disharmony.
  10. DAILY DOSE #14 (Rear Window). THE LADY'S DANISHES: 1. This shot establishes the audience's omniscient POV (or a director's who's proud of his slice-of-city-life set). 2. Jeff is a professional photographer with a dark sense of humor (based on the framed negative). 3. This scene evokes the feeling of wanting to buy binoculars. 4. Yes, this isn't Hitchcock's best film but I've seen it more times than any other.
  11. DAILY DOSE #13 (Strangers on a Train). WHEN TOPAZ COLLIDE: 1. Their diagonal paths portend crossing as the crossing rails make multiple Xs, then they cross their legs which causes Bruno to cross over to Guy. 2. Bruno sits lower than Guy wearing his mom's lobster bib but puts himself on Guys level to shake hands. 3. The score denotes city bustling with thematic flourishes to introduce the two characters.
  12. DAILY DOSE #12 (Notorious) JAMAICA ME INN TO A SPY 1. Disorienting rotating to upside down POV shot mirrors Alicia's state of mind. 2. Hitchcock abandons POV for flattering closeups for a third-person audience view. 3. Grant here, and typically, is smooth yet inscrutable while Bergman, as usual, is inquisitive and fetching.
  13. DAILY DOSE #11 (Mr. and Mrs. Smith) SHAM PAIN 1. Film starts with Hitcock's long dolly shots and pans of a disheveled set which mirrors the emotional state of the characters. 2. The lighting and mood is so atypical of Hitchock that it almost seems sarcastic. 3. They have a charming chemistry of love and stubbornness. I'm looking forward to seeing the rest of the film.
  14. DAILY DOSE #10 (Shadow of a Doubt) THE LODGER: THE STORY OF HOLLYWOOD NOIR 1. Charlie is non-materialistic yet loaded, shrewd yet impulsive, tired yet restless, and fatalistic yet willful. 2. The film starts noir-ish with many tilted angles, non-eye-line shots, with a shadowed interior. This is undercut by a sunny suburban exterior with a couple of sketchy lawmen (gris-ish?). 3. The Tiomkin score faithfully reflects Charlie's changing mood and increased agitation.
  15. DAILY DOSE #9 (REBECCA): RICH AND STRANGE AND DERELICT 1. This opening is far more dreamy, with a literal, if lush, interpretation of the narrative as if we are walking into the book (or a dream). 2. One Hitchcock touch was the long winding P.O.V. dolly shot with a quick dissolve to a sweeping pan of rough seas upon rocks. 3. Manderley, in a dream, is approached from a craggy path mirrored by the pan of the sea to Mr. de Winter which connects him to Manderly which we saw in ruins.

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