johnseury

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About johnseury

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  1. I have really enjoyed this class and have learned a lot. But one thing that I don't recall seeing mentioned are the books "by" Hitchcock: the anthologies and compilations from his mystery magazine and from popular and classic literature. Those paperbacks from Dell and other publishers were my introduction to Hitchcock in the 70s, before I saw any of his movies and his TV show. They had clever titles (Happy Deathday & Noose Report, for example) and cover art. I was also introduced to Hitchcock through the series of books for young readers with him and the Three Investigators. These whet my appetite for Hitch's mysterious doings until I was old enough to appreciate his movies and TV programs. More than you could ever want to know about Hitchcock books is available here on this page from the Hitchcock Zone website: https://the.hitchcock.zone/wiki/Hitchcock_fiction_anthologies Happy Hitchcock!
  2. I wonder what a Hitchcock/Stephen King collaboration would be like. It would seem like a match made in heaven but I think that it might have ended up like Hitch's collaboration with Raymond Chandler.
  3. Scanning some of the postings, I'm glad that several people have mentioned High Anxiety. It's a funny film, both a homage and parody. It's not as funny as Blazing Saddles, Young Frankenstien or the Producers but in the second tier of Brooks' films. I wonder if Hitchcock saw it. I think that Hitch would have enjoyed it.
  4. 1. In the Lodger, the crime is underway while in Frenzy, the crime has already been committed. 2. Among the touches are a sweeping panoramic shot, a crowd scene, a Hitch cameo, a victim of a crime, and violence and disorder infringing upon the ordinary. 3. A common theme I see is how Hitch shows how violence disrupts what is seemingly ordinary way of life and how you try to reorient back to normalcy.
  5. 1. You can tell that she is a crook, has multiple identities, lots of money, and can change her appearance and cover her tracks (by dumping the key). 2. The score seems melodramatic, like it is building up to something as yet to unfold. 3. Hitch looks away, like he has seen something that he shouldn't have.
  6. 1. This scene, especially with the romantic banter, is the calm before the storm. Literally, since the birds are hovering overhead lining up in formation before they attack. Rod and Tippi are flirting and getting to know each other and their relationship will certainly get put out the test. 2. Even thought I've seen bits and pieces of this movie over the years, I've never paid attention to the bird music until after I read the lecture notes & watched the videos. The birds are the real stars and their omnipresent sounds show that they are the main protagonists. 3. I don't know if Hitch's cameo with his dogs has any meaning except as another indication of the calm before the storm and that if you get any pet, get a dog because they are loyal and won't turn on you.
  7. 1. The music and the graphics are violent, jarring, and fast-paced, foreshadowing the violence that is to come. 2. The specificality gives Psycho almost a documentary feel, setting it in a specific time and place, making it concrete and real, that much more terrifying. Coming in through the blinds takes vouyerism up a notch, like Rear Window on steroids. 3. This scene establishes Janet Leigh as a femme fatale, with an emphasis on fatale and fatal to boot.
  8. 1. This scene has the stars at the tops of their games and their flirtation is unsubtle. We know what they will get together but this set-up is clever and doesn't leave much to the imagination. 2. I think that the matchbook indicates that Thronhill's situation is rotten. And it leads up to a very seductive sequence when Eve blows out the match. Again, everything is in plain sight and nothing left to the imagination. 3. The sounds are the ordinary noise on a train that gets toned down for the seductive banter.
  9. 1. From the opening, you gather that the film is about swirling passion over a woman and the tricks that go on inside a person's head. It's a heavy trip, like they would have said 10 years after this film was released. 2. The deep penetration into Kim Novak's eye and the hurricane-looking spiral. Very indicative of stormy passion and destructiveness. 3. The images and score are a perfect combination. It is hard to imagine or appreciate one without the other. And if either element was paired with something else, I don't think that it would work.
  10. 1. This scene is both sweeping (in its panarama of the apartments and all of the action taking place) and claustrophobic (in that both James Stewart and everyone else are trapped in mundane lives crammed into small, hot apartments). I think the vantage point is for the audience getting the scene set up for them. 2. You learn that Jeff is a photographer from the shore of his equipment and photographs. The one of the race car with the tire flying off is how he probably broke his leg. I guess the tire did it! 3. You certainly feel like a casual observer at best. When confined to a small space, you always want to look around for some type of escape, especially if you're in Jeff's situation. Everyone else is confined and trapped by circumstances crammed into those sardine can apartments. 4. I think that North By Nothwest is more cinematic but this one is expansive in its use of small spaces.
  11. 1. Everything in this opening sequence builds up to Bruno & Guy crossing paths. The cars in the opening credits, the close-ups of the legs of the two protagonists walking to the train, the criss-cross of the tracks, and then the shoes bumping together as Bruno crosses his legs-it might have been enough of a bump to give notice but it had explosive force and set the wheels in motion. 2. Bruno is flashy, brash and domineering in appearance and personality: the two-toned spats, the suit, and his namepin. Guy is quieter, reserved in dress and manner. 3. Tiomkin's music is peppy at the outset with the strings but the brass takes over and gets louder and their paths cross and collide.
  12. 1. The main Hitchcock touches in this scene are the varieties of shots, angles, and framing sequences. The personalities of the characters come out in this little bit. 2. Cary is framed and shot in darkness and shadows, which indicate his hardness and the tasks he has at hand. Ingrid is disjointed and troubled, indicating her vulnerablity and her steeliness. 3. They both are playing to and expanding their archetypes. Cary especially comes off as tough. It would have been interesting to see him play in more noir films. He could have pulled it off!
  13. 1. This is a much lighter Hitch touch than in other films. What impresses me is the ordinariness of the couple and how much in love they are. Even though the bedroom is a mess and reality keeps trying to intervene (the servants and the lawyers), they war against it by striving to stay together. 2. It is certainly a less lethal and foreboding opening. You still have the panoramic opening of the messy bedroom and the unusual but seductive closeup of Carole Lombard's eye under the sheet. 3. Montgomery seems a little off in this scene while Lombard is fine. You can see some sparks and that they are in love but nothing that combustible yet.
  14. 1. We learn that it looks like Uncle Charlie is laying low and as something to hide. He seems bored and frustrated and ready for some action. He walks outside the draws the tow strangers after him. I haven't seen the opening for this in a while so I don"t remember what happens to those two guys but it looks like it won't be good. 2. In the Killers, you get the sense of doom and that Burt Lancaster knows that his time is up and he is awaiting his fate. Here, Jospeh Cotton embraces it and dives into it. I think that Shadow of a Doubt is very noirish. 3. Tiomkim sets the mood perfectly with his changing score: cherry with the kids playing at the outset, more atmospheric inside the room, and then sinister and discordant when Uncle Charlie walks outside drawing the two guys after him. I especially like the use of the piano towards the end of the scene.
  15. 1. There are more visual effects highlighting the eerieness of Manderley than in some of the earlier films. Instead of having various characters set up the theme in the setting, there are 2 characters: Manderely and the 2nd Mrs. deWinter. 2. Joan Fontaine is an ordinary character sucked into very extraordinary circumstances. She has to stand up for herself. Things unfold in a leisurely but creepy manner. Manderely certainly isn't an ordinary place but perhaps Manderely is the MacGuffin. 3. The opening, the voiceover narration & the flashback sequence sets up an unfolding sense of doom, foreboding, horror and overall creepiness.

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