DLaws

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  1. I remember it well; as a matter of fact, that TV show actually introduced me to Hitchcock when I was a kid. I loved his studio cut-ins. I thought they were entertaining and clever. And since they air on MeTV here in metro Detroit, I watch them every night! Thanks for mentioning this.
  2. This is something my Gen X daughter (yes, she loves Hitchcock, and classic films in general. She has good taste!) and I do often - and actually had begun thinking along these lines a couple of weeks ago! Following are my thoughts about current Hitchcock collaborators: Writers: J.J. Abrams, Katherine Bigelow, James Cameron, Francis Ford Coppola, Sofia Coppola, David Fincher, Paul Haggis, Spike Lee, Sergio Leone, George Lucas, Christopher Nolan, Stephen King, Sam Raimi, Martin Scorsese, Aaron Sorkin Composers: Hans Zimmer, Nino Rota, Ennio Morricone, John Williams, James Horner Actors: Tom Hanks, Kevin Spacey, Leonardo DiCaprio, Russell Crowe, Denzel Washington, Christian Bale, George Clooney, Brad Pitt, Matt Damon, Daniel Craig Actresses: Charlize Theron, Cate Blanchett, Jennifer Lawrence, Scarlett Johansson, Eva Green, Kate Winslet, Angelina Jolie Costume Designers: Colleen Atwood, Catherine Martin, Jacqueline Durran, Sandy Powell, Giorgio Armani As some other posters have mentioned, it is fun and interesting to try casting some of Hitch's movies with present day actors, such as Tom Hanks in Jimmy Stewart's roles, George Clooney portraying Cary Grant's characters, or Kevin Spacey as "Bruno" in Strangers on a Train. The list could go on and on. Many thanks to you Dr. Edwards and to Dr. Gehring for a memorable (train?) ride with the master of suspense!
  3. Some on my list already have been mentioned, but definitely worth revisiting, in my opinion: The Stranger - D. Orson Welles. Main character, a Nazi disguised as college professor Dr. Charles Rankin, has a fixation about clocks and is allegedly attempting to repair the big clock in the public square. There are aerial views associated with this element (you have to climb a ladder to reach it); also key overhead shot in the gym, when "Dr. Rankin" attempts to kill Nazi hunter Edward G. Robinson. The clock ends up being (SPOILER ALERT) the source and scene of the criminal's demise. Setting is a fictional small town of Harper, Connecticut reminiscent of Shador of a Doubt. On the Waterfront - D. Elia Kazan. Blonde Eva Marie Saint (who later appears in Hitchcock's North by Northwest) is the female protagonist, Edie Doyle. She and Terry Malloy (Brando) appear in one of the important tracking shots as they run away down a dark, wet alley from a car intent on running them down - only to end up seeing Terry's brother Charlie dead, hanging from a hook. Another beautifully executed, unforgettable scene is where Terry reveals his role in setting up Joey Doyle's murder - it's done with CU shots of Terry speaking to Edie with the dialog covered - on purpose - by the loud blasts of the horns from passing freighters; Edie reacts by screaming, covering her ears - not due to the waterfront sounds, which in the hands of someone else might have been background noise, but because Terry is telling her something she desperately doesn't want to hear. This sequence always has reminded me of Hitchcock; it stands to reason that such a scene would pack a punch - but with this treatment, it's elevated to another level and grabs the audience's attention. Another important tracking (and POV) shot occurs as the badly beaten, bloody Terry is staggering his way to the overhead door where the longshoremen report for work each morning (I call it the "Let's go to work" scene). Aerials factor into this film from the beginning as Joey Doyle is thrown off the roof an apartment building; also much of the action is associated with Terry's (and Joey's) pet pigeons that are kept in coops on the roof. Night of the Hunter - D. Charles Laughton. Quiet, small town setting; audience knows the killer's identity and where the stolen money is hidden right from the beginning. There is a psychological angle here: Mitchum is the killer, clearly a twisted soul with the words "love" and "hate" tattoed on his fingers, posing as a so-called preacher who kills women. Latest victim is Shelley Winters' character (also blonde) who literally ends up dead in the water. Dark humor plays a role via the Lillian Gish character who, along with the homeless children in her charge, outsmarts the criminal who is stalking his former cellmate's kids (who also are in Gish's care). Dead Again - D. Kenneth Branagh. Emma Thompson is the blonde in this noirish thriller, that has psychological undertones involving amnesia, past lives - and murder. There also are dual role performances reminiscent of Vertigo. Niagara - D. Henry Hathaway. One of Marilyn Monroe's best roles that showcases her acting talent, opposite Shadow of a Doubt's Joseph Cotten. Similar to North by Northwest, there is a lot of action and suspense at Niagara Falls, an international locale that lends itself well to aerial shots, and helps advance the plot. Another Man's Poison - D. Irving Rapper. Very suspenseful, based on the stage play Deadlock, but much of the action actually occurs/is suggested by, the outdoors. Opening sequence is a tight, moving shot of writer Janet Frobisher's (Bette Davis') feet, as she walks purposefully along a dark road - along a cliff at some points (!) - to a public phone at a train station (another Hitchcockian motif, within a motif that pulls the audience right into the action). Sidebar: writer/former Hitchcock collaborator (1934's version of The Man Who Knew Too Much) Emlyn Williams appears in the film in the pivotal role of the veterinarian (I won't say more for those who haven't seen this film before!). A Perfect Murder - D. Andrew Davis. This was an out and out update of Dial M for Murder, and was promoted as such back in 1998. It was a good film, but naturally does not hold a candle to the original. There was a blonde protagonist, Gwyneth Paltrow; settings and other key elements had been changed, but lacked the intimacy, elegance and style of the original. Kudos to Davis, though, for providing a twist to the murder plot that was reminiscent of Hitchcock's masterpiece, without mimicry. Sidebar: Viggo Mortensen was good as the wife's lover - and appears in Eastern Promises and A History of Violence, both with blonde protagonists (Naomi Watts, Maria Bello), directed by David Cronenburg, who was on another poster's list. War of the Roses - D. Danny DeVito. I saw this film as a twist on Hitchcock's screwball comedy, Mr. and Mrs. Smith, with dark comedy elements. (SPOILER ALERT) This couple is considering separation/divorce, but instead of getting back together at the end - they kill each other! Don't know if DeVito had any of this in mind, but nevertheless.... Fahrenheit 451 - D. Francois Truffaut. As someone else mentioned, you have Julie Christie as the blonde, in dual roles, lots of long tracking shots, plus a Bernard Hermann score. The Godfather (1-3) - D. Francis Ford Coppola. Diane Keaton, as Kay Adams, is the blonde protagonist here. The key motif, to me, are the bowls/plates of oranges that appear in various scenes -- typically before someone/something is killed or dies. Examples: - Plates of oranges on the table at the meeting between Vito and the heads of the five families. Lots of death follows. -There are oranges on the table during Tom Hagen's meeting with movie mogul Woltz - before the horse is beheaded. -There are oranges on the table at the Corleone home after Tom returns from L.A. - The first time we see Sal Tessio, he's playfully tossing an orange into the air at Connie Corleone's wedding. Sal later betrays Michael and is killed. - In G-3, aging Michael is peeling an orange as he collapses, falls out of his chair, dead (presumably of a heart attack or stroke). - In G-1, an assassination attempt on Vito takes place at a local fruit market where he is buying oranges. Sidebar: This scene, as violent as it is, is skillfully shot and in a way, choreographed, without gratuitious blood and gore. You hear guns firing, you see a car, you see Vito shift his eyes and pivot to take cover as he realizes what's going on, you see poor Fredo fumble, drop his gun and sink to the ground crying - all of which due to masterful direction and editing tells you what happened (and what will happen going forward), i.e., the pictures tell the story. Although grittier than a Hitchcock film, it is an example of his influence. Kill Bill, Inglourious Basterds, etc. - D. - Quentin Tarantino. Tongue-in-cheek humor undercuts the graphic violence that is very much a part of these films. Blonde female protagonists: Uma Thurman, Diane Krueger, Melanie Laurent. A Murder, She Wrote episode in which mystery writer Jessica Fletcher (Angela Lansbury) is conducting a seminar on Hitchcock's style! And let us not forget that Jessica calls the fictional small coastal town of Cabot Cove, Maine her home. This has been fun!
  4. I recognized Charles McGraw in The Birds myself, and as someone who took Dr. Edwards' film noir class and is a FN fan, his appearance stood out. By the way, McGraw was known for portraying similar characters in westerns (Gunsmoke, Bonanza, Wagon Train, Destry (the TV series, of which Psycho's John Gavin was the star), Laramie, The Deputy, etc.) too, which - in my mind, anyway - are the films noir covering that particular period in history. There are quite a few parallels (harsh realities of life following a war, the grittiness of traveling west and/or settling down in the west (or perhaps not settling down at all), to name a couple). McGraw fit them all perfectly.
  5. As I recall, a friend of mine and I went to see Frenzy knowing very little about the plot; we were inspired to see it because it was a new film by Hitchcock, and we are both fans. I see it as a good, solid film, despite the graphic rape/murder scene which was extremely disturbing to both of us (this is what I think of when this film is mentioned), and unexpected - especially the shot in which the woman's body is found. This was a departure from earlier Hitchcock films that always seemed to have the element of sex/sexual repression in them, but weren't graphic. The sexual aspect typically unfolded via dialog or the plot and character development. This was 1972, however; a lot had changed in the movie business in this regard, and I must give Hitch credit for keeping up with the times. In any case, Frenzy is endowed with all of the Hitchcock touches we've come to expect: interesting and deliberately misleading picture postcard aerial shot of London, that zeros in on a calm, rather mundane press conference of sorts, with an attentive crowd that includes Hitchcock's signature cameo, beautifully mixed with a rather stately-sounding music score that is broken up by the title treatment. All of this sets the stage, though, for the introduction of the dead woman's body in the river -- right on the heels of a comment about how the city wants to rid the waterways of pollution, no less! Leave it to Hitch to grab our attention in a creative way, which is part of his style and his appeal. To wit, this film is reminiscent of Hitch's earlier films, including and especially The Lodger, in which the opening scene pulls the audience right into the action with the CU shot of a blonde woman screaming and reactions by people on shore. In Frenzy, though, while we don't see the murder victim - the blonde woman's nude body floating in the Thames River - until the opening speech is over, the impact is equally palpable and tells the audience what they need to know about what is and will be happening as the film continues. The primary difference here? More time elapses between the shock of knowing that a murder has been committed. Nonetheless, Frenzy is an example of Hitchcock returning to his roots, utilizing lesser known, classically trained British actors and returning to a more modest locale in London (versus the upscale, affluent atmosphere in such comparatively recent star vehicles as Rear Window, North By Northwest, Marnie, The Birds, etc.) As mentioned previously, he used common touches in all of his films, many in the opening sequences; I think Hitch's purposes in creating his opening scenes in this way were to "grab" the audience and hold their attention -- he made us want to continue watching right until the end credits. It always worked and we always watched.
  6. Wow - lots of parallels between Marnie and Psycho - except that Marnie herself is a more complicated individual with more layers to her personality than Marion Crane (although there is some duplicity regarding identities for Marion which helped her expedite the theft). She assumes different identities in a calculated manner and is a thief with the bundles of money she packs in her "other" suitcase to prove it (Marion also stole money, but ironically is killed before she can make use of it; the money theme also surfaces in the opening sequence of Shadow of a Doubt and involves different sides to the character's personality, i.e., the superficially amiable Uncle Charlie actually is a murderer). Marnie systematically gets rid of her old clothes and identity, dropping the key to the locker and nudging it down the grate. Finally, she washes the black dye out of her hair, which like the blood during Psycho's shower scene, swirls its way down the drain. She has essentially "killed" her previous identity and assumed a new one that would be difficult, if not impossible, to detect. The Hermann score is soft, somber and slow moving (when compared to the frenetic pace for some other Hitchcock films) as the camera follows a seemingly attractive woman carrying a large yellow purse (very striking against her comparatively dark, tweed suit), but the music swells and draws the viewer's attention to the unseemly activities in which she's engaged, such as switching Social Security cards, packing new clothes with the tags still on them in another, different suitcase. It finally climaxes when, after washing out the black hair dye, she raises her head and you finally see her face and natural blond hair. The cameo in Marnie was fun - definitely a different approach than previous Hitchcock films and likely a desire on Hitch's part to connect with the audience. This time, he comes out of his hotel room, but instead of going about his business - he turns and looks at the camera as if to say "wait until you see what she's up to!" I almost expect him to do a slight smirk and/or wink - although that perhaps would have detracted from the seriousness of the subject that later unfolds. In any case, I appreciated the change. He showed he still wasn't beyond trying something new!
  7. Just as I felt when I first saw The Birds several years ago, it seemed lighthearted, with droplets of humor, such as the wolf-whistling boy, Melanie's appreciative response and her playful attitude with Mitch as she pretends to be a pet shop employee, plus Hitchcock's signature cameo with his two little dogs (the issue of doubles, which is a Hitchcock characteristic). It seemed to be an obvious set up for Mitch, who's seeking lovebirds (also another example of doubles) for his sister - not his wife or girlfriend - therefore suggesting the field is open for a relationship with Melanie) and Melanie (coquettishly posing as an employee, engaging in playful banter with Mitch) to meet each other, as the two people clearly are attracted to one another. Melanie is cool, well dressed and sophisticated and based on the exchange with the staff person portrayed by Ruth McDevitt, Melanie is someone who is used to getting her own way. All of this, though, is juxtaposed to a feeling of foreboding that sets in when you think of the swarm of birds outside of the shop, which Melanie notices (as does one of Hitchcock's pups) before entering the store. I recall thinking, "this is creepy," "why are the birds there," and later, "what is it about her (Melanie) that is attracting the birds?" To me, the latter point is the undercurrent throughout the rest of the film. Naturally, I was hooked right at the start! I was struck by the lack of music that would fit such a lighthearted opening - which also suggested to me that something strange and ultimately, frightening, was about to happen. The sounds of birds, wings flapping, etc., mixed with street sounds, reinforced this notion. This was further punctuated by the even louder bird sounds - which would be typical - that we hear inside the pet shop.
  8. My heart still is racing after seeing this opening - one which,like many of us, I've seen many times - due primarily to the perfect marriage of music and graphics (kudos again to Saul Bass and Bernard Hermann). It evokes a feeling of forboding, but at a rapid pace which is both frightening and exciting - and enticing - all at the same time. The lines also suggest prison bars, i.e. being held captive that in this case, it isn't only due to a criminal act that is about to be committed, but also due to the feeling of being held captive (willingly!), as an observer. As with other Hitchcock films, we are drawn into the action immediately. On the heels of this dramatic, magnetic open is the establishment of the location, date and time - all important elements to the plot, as we will discover as the story unfolds; but in the process, we are allowed to peer through partially-closed blinds into the lives of Marion and Sam, whose relationship is revealed through their conversation -- and their half-clothed bodies. We also gain a lot of information about these two people, especially Marion, that establishes her as a main character; we learn about her relationship with Sam, that she's again playing hooky from work during an "extended" lunch hour, etc. This is reminiscent of Rear Window, in which we get a panoramic view of the apartments, along with an intimate view of what's going on inside of some of them. I also was reminded of Shadow of a Doubt, which also begins with a view inside of Uncle Charlie's hotel room, and also launches us right into the action (we find out that Charlie, at the very least, is a wanted man!).
  9. I love this movie - one of Hitchcock's best, of course - and this is one of my favorite scenes from it. This is a consummate spy thriller, without question, but the sexual tension between the two lead characters is palpable with both being and doing what we expect (despite Eva Marie Saint's method acting background) and, quite frankly, I'm able to identify the flirtation that ensues before either of them says a word. It advances the plot: Cary Grant is suave, smooth and handsome and later on proves himself quite capable, like James Bond - which he always is; and Eva Marie Saint effortlessly and professionally snaps into the sexy spy character persona as the perfect foil and prospective mate. You expect them to be attracted to each other, and they certaily are. The result: the scene WORKS, and does so beautifully. As the two characters look into each other's eyes, the sexual tension builds through the "I never make/discuss love on an empty stomach" dialogue (Eve Kendall has taken on the role of pursuer, which instantly arouses Roger Thornhill's interest and curiosity) and the lighting of the cigarette, neither of which requires a change in focus - but the R.O.T. matchbook allows the interjection of bit of self deprecating humor on the part of Thornhill. They are still playing the mating game, but for a purpose -- at least on Eve Kendall's part. In am intrigued by the sounds of the train, as well as the musical score, but they add to the realism of the exchange between the two characters; the sounds are part of the backdrop, definitely necessary (especially the train), but never distract the viewer from the action/dialogue.
  10. It has been many years since seeing Vertigo, but the opening sequence brought some memories sweepingly back to the present. I recall being impressed then, as now, with Saul Bass' creativity as it set the tone for this very involved, convoluted and suspenseful film. The sounds and images suggest something psychological, with the woman's eyes - which I consider the most powerful image in the sequence - positively riveting. As a viewer, you can't stop watching them. Seeing her eyes move and the gaze shift give me the impression that she is someone being analyzed - or perhaps hypnotized - and that HER story is the cornerstone of this film. The mood is unsettling, because I feel she is someone who is being analyzed perhaps against her will and therefore she is possibly being victimized in some way. Second only to the eyes, are Bass' mesmerizing spiral graphics that are moving, changing color and shape, as the credits animate over, around and within them. They seem distinctly modern, much more than one would expect during this time period. The compelling graphics, along with Hermann's score, work together to reinforce my feelings about the psychological underpinnings of this film.
  11. Let me begin by saying that Rear Window is one of my favorite Hitchcock films. I'm lucky enough to live in a neighborhood where there is a fully restored 1928 movie theatre that shows classic films as they were first enjoyed - on the big screen (Concessions are the cheapest in town, too!). Having said all that, I've had the thrill of seeing Rear Window in this venue many times, as well as owning my own copies on VHS and DVD and I must say that the opening camera shot never fails to pull me right into L.B. Jeffries' world. Jeff's back is to the window, but this is a shot that establishes his rather claustrophobic environment and "explains" his circumstances, i.e., he's confined to a wheelchair (and as we find out later, sleeps in it sometimes) due to a broken leg that he has acquired from a mishap during one of his assignments as a successful commercial photographer. We are even shown the broken camera to drive the point home. It's hot, as established by the beads of perspiration on Jeff's forehead and face, and by the closeup of the thermometer. These elements set the scene for what's to come, as well as gives us Jeff's backstory. It's Hitchcock giving the audience the information in advance of the later action. I'd say this scene is voyeuristic, and yes, at the very least a case of being an immobile spectator. I had a similar personal experience a few hot summers ago when I was recoving from surgery and couldn't move around much - all during a power outage, no less. Based on that experience, I understand Jeff's compulsion in watching his neighbors. It was real-life entertainment of sorts and as some other posters have stated, I don't think I'd have turned away, either, which I don't like to admit. When Lisa admonishes Jeff for doing this, I feel that she's talking to all of us, including herself. And in answer to the bonus question, I do, indeed, agree that this is Hitchcock's most cinematic. It has all of the qualities that make it stand above the others.
  12. The opening scene to Strangers on a Train is ripe with criss-cross imagery, some obvious, others not so much, but they are definitely there. The crossing of the train tracks, then splitting, and crossing again - which in and of itself is riveting - draws the filmgoer into the action, which mounts with the shifting/crossing of the scenes of the two men exiting their taxis. As one walks into the station to his seat, you also see a man and a woman with their legs crossed; in opposition, you see another pair of passengers seated with their knees together. Both men sit down and cross their legs, with the subsequent bumping of their toes igniting a conversation. Beautifully done. This also marks the beginning of the what we will learn is a stark contrast between the two men: Bruno is a flashy dresser with an outgoing personality (and those black and white shoes!), while Guy's style is classic, tailored, and he's more reserved in his demeanor. Bruno's behavior is casual, and a bit overly familiar as he "crosses over" to Guy's side of the car upon introducing himself and speaks about wearing a tie clip bearing his name to "please his mother." At this point, his tone sounds a bit condescending, which to me, suggests a negative attitude towards his mother. Guy is polite, but as stated previously, reserved and modest. The differences are further punctuated by the music during the scenes where the two men emerge from their taxis. The piece of music begins the same, but the mood shifts once we see each pair of feet/shoes - to an almost lighthearted passage when you see Bruno's black and whites and pin striped pants; versus the traditional "city-scene"-style piece we hear when we see Guy's classic leather oxfords and cuffed slacks. In all, the tone has been set for the deliciously suspenseful events that are about to unfold - all of which will empahsize how different these two men are right to the very end!
  13. Hitchcock truly pulls out all of the stops with Notorious. The imaginative, daring camera angles that depict Alicia's drugged fogginess as she fixes her eyes on the elegant image of Devlin/Cary Grant (this was truly a masterstroke, reminiscent of the shot of Ivor Novello in Downhill); the intimate ECUs of Devlin and Alicia that essentially block out anything else in the shot; the breathtaking overhead shot that slowly, steadily moves in to focus on the key clenched in Alicia's hand; the wonderful costumes by Edith Head, one of my favorite designers (and Hitchcock's apparently), who clothed these characters in such a way that they helped tell the story and advance the plot(with Edith Head it was never clothes for clothes' sake!) - these are Hitchcock's trademarks that make this picture unlike any other. The success and appeal of Notorious is due to essentially casting Grant and Bergman against type - he's the sharp, assured, tough-talking lawman, whose physical image is still the smooth, suave and sophisticated Cary Grant we're accustomed to seeing in movies. He's got an edge, though, and with Grant's talent and Hitchcock's direction, he's believable. Bergman is a party girl/spy who, sickened by the poison she's slowly being fed, still manages to look lovely, but as spectators, we empathize with her plight and want to her to get out of this situation alive. Again, she's completely convincing in this role, but she's definitely not the Ingrid Bergman we usually see (think Casablanca). Their glamour is the attraction and Hitchcock knew how to use it -- but neither Bergman nor Grant had to relinquish any of their appeal to turn in powerful performances.
  14. This is a fun, lighthearted movie that I saw many years ago before realizing (I didn't pay attention to the opening credits back then!) it was indeed Hitchcock's work. Nonetheless, the opening sequence bears the Hitchcock touch - panoramic view of the messy bedroom, Mr. Smith's hands playing cards, his unshaven face and Mrs. Smith's tousled hair and drowsy eyes which all together set the tone for this romantic, comedic romp. There is Hitchcock's trademark attention to detail (the silkiness of the bed sheets, her slip style nightgown and his pajamas; the elegant decor that is warm, but isn't overly fussy and the dolly shot that pulls the viewer into the Smiths' world) which is rich and oh so appealing. You're left with the feeling that you like these people and that they truly love each other. I consider it a typical Hitchcock opening, but he's demonstrating his versatility, as well (screwball comedy vs. murder/danger). The casting of Lombard and Montgomery makes sense - they look good together, they are believable as a married couple. They aren't perfect and this is no fairy tale, which also makes them believable. Both actors proved themselves capable of edgier roles in other movies (Lombard is excellent in Made for Each Other, which has its light moments, but is also very serious; and let us not forget Montgomery's portrayal as Philip Marlowe in Lady In The Lake, which was an excellent film noir and much of which was shot, ironically, from Marlowe's POV). Those qualities are what make them convincing as a married couple -- they have very different personalities and qualities that can drive them apart, but also bring them back together.
  15. As someone who is a Joseph Cotten fan and until seeing Shadow of a Doubt, someone who is accustomed to seeing him portray more honorable, principled characters, I cite the realization that this "Mr. Spencer," as he's known to the landlady (whom I recognize as Dr. Brulov's housekeeper in Spellbound) is sinister, unscrupulous, wanted by police and rather brazen (as he mentions to the landlady, he actually does come out to "meet them," nearly brushing the shoulder of one of them). He does this despite the fact that he believes "they've got nothing on" him. He appears to be a well-heeled gentleman outwardly, but this image, plus his innermost thoughts and unsettling responses to the landlady's questions, clash with the rather seedy, run of the mill environment in which we first see him. This situation is definitely out of balance and we can't, as I've said often, wait to see what happens next! I am also an avid film noir fan, therefore I was immediately reminded of Burt Lancaster's character Swede in the noir classic The Killers. In deference to those who haven't yet seen The Killers, I will say only that the similarity between the openings to the two films, to me, is striking and the tone aptly set for the action to come. Shadow of a Doubt definitely holds its own in the film noir world, as do numerous Hitchcock films. And as we've been focusing our attention on the opening sequences of Hitchcock's films, I've found Tiomkin's music to be just the right element to advance the plot by giving us an audio snapshot of something that we are about to see that is, of course, dramatic, but that also is more melodic and in some cases lighthearted, when juxtaposed to the undercurrent of danger and intrigue. In the case of Shadow of a Doubt, we're treated to pleasant, lighthearted music befitting the exterior shot of the boarding house with kids playing in the street, interspersed with the soft, lilting melody of "The Merry Widow Waltz," which we will later discover punctuates Uncle Charlie's sordid exploits.

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