katwent

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  1. A big shout out to Prof Edwards and Mr. Philippe, thank you for letting us join your conversation on Hitch. A big concept that looms in my mind is the influence that a director like, Nolan gathered from Hitch. In his latest, DUNKIRK, the score is haunting, question: Do you think that the ticking watch, boat engine sounds and especially the musical score of Hans Zimmer mirrors Hitch's recurring motifs? Here is an article that touches on that subject: https://www.nytimes.com/2017/07/26/movies/the-secrets-of-the-dunkirk-score-christopher-nolan.html Zimmer used the Shepard Tone to hone suspense, sort of a barber pole effect on our senses. Thank you again, I have learned so much!
  2. The opening of FRENZY as opposed to LODGER is different in that the long helio shot in FRENZY ends up with a woman screaming, while LODGER begins with a smash close-up shot of a woman screaming. We are able to collect our senses, adjust our movie seats and crunch our first mouthful of popcorn before we are scared out of our wits. Hitch's touches include a cameo shot, public forum & misdirection. FRENZY uses birds as a focus fulcrum. We are free as birds on the helio shot dashing in & out of bridges and roof tops, then a public forum discusses kingfishers as the reason to clean a river, but it's not that clean (ironic twist, a specialty for Hitch) because a lady screams look, Hitch focuses our attention expertly (Hitch touch) by the scream.
  3. Marnie's character unfolds in the opening sequence to a lady leaving clutching a Lemon leather purse like a doll under a child's arm. The bellhop carries her burdens, brand newly purchased boxes. She packs the new items -- transfers the contents of the old purse to the new and places an ID chosen from a stack, then locks the old clothes and throws away the key. Symbolic we sense that Marnie's character is more an likely split, as she sheds he hair color for a new golden shade, from a bleak black tone. I gather a street wise girl on the run, but also that she is to be followed, as we generally see her from a back angle, never seeing her face under she whips her new locks back. We wonder why she held the lemon purse so oddly, perhaps a throw back to a childhood issue? Herrmann's score resonates Marnie's new identity and cymbals clash as her face is finally revealed. Hollywood Hitch comes out of one of the rooms of the hotel and practically winks into the camera. He is now not part of the action as in previous cameos, he is an extension of the camera and therefore us as the audience.
  4. Hollywood Hitch in BIRDS leads us down the rom com path as Taylor & Tippi banter over the details of love birds. What are they actually talking about, "...not too demonstrative, but not aloof?" Probably sex couched in euphemisms. The mistaken identity is definitely a comedic touch, as Taylor believes Tippi is a pet store employee. It's puzzling that the city scape has only aviary sounds. The mood is initiated as off kilter and strange. Does anybody care? The atmosphere is tipped off to be ambivalent ~ almost an opposite foreshadowing, clever Holloywood Hitch! He twists our emotion with sweet birdy sounds to menacing birds of prey. The fact that Hitch escapes from the pet store just in time for the 'foul' kingdom's revolt with his cute babies shows us that we better take notice. It's a stretch to hone meaning, but as we have learned thus far, these little details Hitch inserts have larger meanings as we put the puzzle together.
  5. Music by Hermann gets our nerves jumping with the staccato violin strings and is meshed with the vertical bars that fracture Basses title work which is mirrored in the vertical blinds that open the first sequence of PSYCHO. We are led down the path of anxiety of Bates & our fallen Jane's (Crone) temporary psychosis. The theme of what makes our neighbors and acquaintances commit atrocities will be explored through the eyes and bloodshed of these two peculiar characters. We're already on the edge of our seats. Hollywood Hitch ramps up the suspense bar by time stamping the 'ordinary' weekend, pin pointing the location in a hot, arid locale; a tinder box about to explode. Hitch's camera enters through slotted Venetian blinds, echoing the title motif. He pays homage to THE KILLER, and reverts to the image of the prone criminal awaiting fate from his SHADOW OF A DOUBT, and Cotten's prone position on an iron barred bed, draped with vertical shadow, in noirish theatric key lighting. Marion Crone is the camera's main focus. She becomes the protagonist as she gives her ultimatum and begins to take control of Loomis' life. The camera angles implore her dominance of the picture frame.
  6. Hitch uses star quality to insure we relate to his characters. If he uses people we feel are our 'friends' our relateability increases. We now are deeply concerned about their outcomes. R.O.T matchbook is used to light their fires and increase the eroticism of their 'chance' meeting. The click-clack of the train meshes with the dinner music & the diners' dishes clacking all says, your fate is to 'click!'
  7. Every director/writer: Auteur, must come up with a fresh approach to exposition. Hitch incorporated sound & visual design to the utmost to start us on his story-telling journey. The lips, black & white, smash close-up on the bridge of the nose, but seemingly normal. The eye turns blood red, and the cymbals clash. VERTIGO is experienced hynotically by the spin of the fibrinacci patterns, inescapable, the basic pattern for everything, including Novak's ability to hypnotize Scottie and transfer her neurosis to him. Without prior knowledge of this wide-acclaimed film, my supposition is that a wacky "I" becomes paramount to Alfred Hitchcock's camera's eye and zooms out to us like a laser beam. Most powerful image is the eye, the waffling from eye to pattern to eye to universe visual still comes back to the eye. If there was a different collaboration of graphics to sound, let's say Dub-step, we could be introduced to a separate genre, we'll say, comedy, just sayin'.
  8. We are introduced to the director and cinematographer's POV, and it then becomes the audiences' & ours. Jeffries backstory is revealed by focusing on the photos on the wall, which works perfectly as the Protagonist is an action photographer. Each building's tenants are introduced by tightly matched visual to sound design: cat 's meow, to jazzy & dance music, to radio voice. Are we coaxed to become Voyeurs? Our guilty pleasure, probably, but we are then in the joke. NYers are famous for gazing from their windows into the next, it has become their entertainment. Besides, how can you help but turn away as the tenants are EXHIBITIONISTS! This is indeed Hollywood Hitch's most cinematic film. He is the camera and we are its light ~ still pics becoming movie magic.
  9. Trains = Fate = Hitch. The Opening Sequence of STRANGERS begins with a framed archway, clues that we are in a capital city. A car pulls through, and is closely guided by curbs. Shoes reveal a dapper passenger & an athletic passenger, they are worlds apart. Train tracks, low shot ~ show the convergence, symbolic of their merge. Shoes again, they cross their legs in the passenger train, heels bump and the meeting of their fates is meshed. To contrast the two passengers, Bruno & Guy, Hitch reveals that Bruno is 'well-heeled', dapper, wears the suit of upper class, his speech is eloquent, biting; "...do love people who Do things." Guy on the other hand, has athletic shoes, scuffed, a dressed down look outfit, almost a hay seed 'Yuck, yuck," in his dialogue and emulates pedestrian. Dimitri's ambient sounds of tolling foots emphasize Hitch's theme of guilt. We hear sounds of trumpet, when we see Bruno's two tone shoes. We hear lighter strings when we see Guy's tennis rackets. Sound effects punctuate fate.
  10. Blatant Hitch touches include: Crazy, diagonal Germanistic Expressionistic cam <'s, drips with sub text, train whistles signals the fickle finger of fate, & Alicia says, "What angle?", best tongue in cheek line so far. Alicia is the innocent, although tainted, average Jane caught in unmitigating circumstance. The light, frame & photography is used to contrast the Devlin character with Alicia's predicament. Devlin crosses his arms and is impeccably dressed while her hair is tussled and she is in an uncompromising position after an evening of reverie. Alicia's costume diverts our attention from Devlin's sneer while we contemplate her quandary, then our attention focuses to the phonograph needle close-up directing our attention to the problem at hand. The casting is exquisite and fortuitous. Bravo! Hitch mentions in a Truffaut interview that he prefers the star quality cuz then the audience is riveted to a person they consider they know, and anticipate their demise 98% more.
  11. Hitch's touches in SMITH In the area of set design serve to convey a perfunctory intro to the Smiths. We pan on a finished meal, that reveals to be on the floor. We feel absurd. Mr. walks over the couch and we discover that a silk quilt drapes it, he's sleeping solo. The camera angles jar us to a jovial world upside down and sets us up for a Screwball Comedy. The lighting is bright, lifts us for a quick skit. Simultaneous shots of the hotel room & office give us exposition, haven't worked in three days. Contract is signed in pencil, laughable! Don't agree this is a typical Opening Scene, but it is certainly most effective. Usually we have seen public scenes that reverse to individual POVs. The chemistry between Lombard & Montgomery is cuddly & loveable yet organically ironic as a real couple might be. Hitch succeds again to lull our sensibilities to relate with the Stars.
  12. The backstory of SHADOW is conveyed efficiently and grittily by the key lighting, incongruous pinstriped suit in bed in the middle of the day, tossed dollars on the floor & an unlite cigar Unk fiddles with as he resigns to his fate. Cotten as Uncle Charlie anticipates our anxiousness. This opening scene differs from KILLERS by the long tracking shot of Siomak's as opposed to the Hitch touch of montage. Hitch portrays a classy menacing character of Spencer (Cotten.) The Swede of Siomak in KILLERS is in bed but is creepy, not noble. Shadows on Cotten's face and his later V.O. pinpoint Noir elements in SHADOW. Dimitri's score is designed to ellecit emotions. He starts with a light, playful tempo on the streets with kids, goes to somber bells once inside the Boarding House. Quiet on the set with accompanying dialogue. Then, foreboding bass, sad. violins. Then crescendos to drums with glass throwing. Picoloes like screams. Decision trumpets. Once back on the street, stuccado piano strokes, bold and decided as Cotten marches past the ominous made men, who are baited to follow him and face fate. Plucky violas track.
  13. Brit films open with expressionistic, abstract montage. Once under the spell of Hollywood, Hitch resorts to a V.O./F.B. Noirish into in REBECCA. He leads us slowly and methodically to the isolated castle. Brit's smash close-ups contrast to the long tracking shot, used and developed further with later, STRANGERS. The cinematography appears crisper, Hollywood translates to bigger bucks. Hitch's pallet is sophistatcated in Hollywood, Briit's amateurish. Hitch's touches include composed Suspense w music, ordinary man/woman in trouble, extreme close-up to convey emotion, a new touch could be Weather As A Metaphor to mist atmosphere & tone, and star relateability. Mandeley serves as its own character, the mood is conveyed with its overgrown path and shadowy moon, personifying its malice.
  14. The opening scene of LADY bursts with frenetic public space activity, but is short lived compared to Hitch's standards of opening scenes so far. There is a calidiscope of folk music morphing to symphonic music, then a distinctive waltz, foreshadowing the three acts that ensue. We are introduced to film's first Charle's Angels; a blonde, brunette, and redhead who have wrapped the owner/clerk around their fingers. The tone is gaity with growth, the mood impending adventure, and the atmosphere as triumphant as the trumpeteer of the clock! Caldecott & Charles are the equilibrium we follow and serve to narrate some of the introductory exposition. They exclaim, "Americans, you know, the almighty dollar," slipping judgement into their banter. The doorway becomes a framing device in Hitch's hands. Somewhat reminiscent to Goya's 'caprichos' (farcical engravings) ~ the composition is accented by the upper and lower level stage platforms he arranges Charle's Angels as they spin their webs. The dialogues distinctly ennunciate International flair. The cam movements are a sophisticated envelopment of directed POV.
  15. The opening scene of 39 STEPS fits the previously studied films': PLEASURE PALACE, LODGER, & TMWKTM patterns by location in a public place, mob hysteria, incongruent details front loaded, and relatable average Joe or Jane's POV. Unlike the previous clips, 39 STEPS is more divergent by the casual nature of the Mr. Memory audience participation and therefoe our level of relatability skyrockets. By Rothman's definition there is a more innocent protagonist and encourages our relatability with skillful conventions that launch Hitch's character and exemplifies that he is honing focus for his later masterpieces. The Hitch touch of expressive close-ups in an ordinary public setting that reeks evil, of ordinary guys with exposition details front loaded to harbor subtext, with a non consequential MacGuffin introduces our story expertly in the wry dispassionate amusement turn of the lips plastered on Hannay.

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