Ppalmer

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  1. Another film I thought of is The Fugitive, based on the 1960's television show, we have an innocent man convicted, who is escapes from custody, chased all over and yet he's seeking the one-armed man who is the McGuffin.
  2. Like others, I also thought of Charade with Cary Grant & Audrey Hepburn. Not only do we have an innocent accused, but there is humor & sex like Hitchcock would inject (Grant showering fully clothed.) Another film I thought of is The Fugitive, based on the 1960's television show, we have an innocent man convicted, who is escapes from custody, chased all over and yet he's seeking the one-armed man who is the McGuffin. I heard an interview many years ago with Steven Spielberg about Jaws, he became very frustrated that the mechanical shark would not work the way he wanted. He finally thought back to how Hitchcock never really revealed the source of suspense in his movies, so instead of showing the shark he let the music drive the mood and add to the tension until at the very end you hear the one line, "I think we need a bigger boat."
  3. I heard an interview many years ago with Steven Spielberg about Jaws, he became very frustrated that the mechanical shark would not work the way he wanted. He finally thought back to how Hitchcock never really revealed the source of suspense in his movies, so instead of showing the shark he let the music drive the mood and add to the tension until at the very end you hear the one line, "I think we need a bigger boat." http://mentalfloss.com/article/31105/how-steven-spielbergs-malfunctioning-sharks-transformed-movie-business There is also the great pairing of John Williams score to the film much like the collaboration between Hitchcock and any of the composers for his films.
  4. Like others, I also thought of Charade with Cary Grant & Audrey Hepburn. Not only do we have an innocent accused, but there is humor & sex like Hitchcock would inject (Grant showering fully clothed.) Another film I thought of is The Fugitive, based on the 1960's television show, we have an innocent man convicted, who is escapes from custody, chased all over and yet he's seeking the one-armed man who is the McGuffin. I heard an interview many years ago with Steven Spielberg about Jaws, he became very frustrated that the mechanical shark would not work the way he wanted. He finally thought back to how Hitchcock never really revealed the source of suspense in his movies, so instead of showing the shark he let the music drive the mood and add to the tension until at the very end you hear the one line, "I think we need a bigger boat."
  5. Like others, I also thought of Charade with Cary Grant & Audrey Hepburn. Not only do we have an innocent accused, but there is humor & sex like Hitchcock would inject (Grant showering fully clothed.) This film also includes wonderful locations.
  6. 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. The Lodger starts immediately with a woman screaming after finding a body near the Thames, in Frenzy he takes his time & is even a part of the crowd when the man yells "look!" 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. Again we see a crowd gathered around invoking the sense of voyeurism. 3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career. Hitchcock's opening scenes where to introduce us to the story not just the characters within the story. His main purpose was to create suspense.
  7. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects. Marnie is a chameleon and we meet her as she's changing her colors blithely throwing away the old and carefully packing up the new. How does Hitchcock use Bernard Herrmann's score in this scene? At first the music is used to pass the time as it builds towards a crescendo of sound and rising pitch as Marnie raises her head from the sink becoming her new character. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means? We see Mr. Hitchcock exiting a hotel room, looking both ways, observing the passing lady as if to make sure no one has seen him. This is almost a microcosm of Marnie as she is hiding from what's behind her as much as he is trying to escape from what's behind him.
  8. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? This truly is more like a romantic comedy, Melanie's ignorance of birds becomes comical as she tries to show Mitch around the shop. We also learn that Melanie is impatient but Mitch's patience with her is striking. That's when we learn he's enjoying the banter. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? Having lived in the San Francisco Bay Area, I too would be worried at seeing that many seagulls in one location. The louder the birds got the more tense the scene became. The opening scene contains a famous Hitchcock cameo. Describe the cameo and if you think it has any particular meaning in relation to this scene. Hitchcock exiting the store with his two dogs is memorable, it seems as if he's in a hurry to get out of the noisy store.
  9. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? The way the lines cross and break the names is indicative of how Norman Bates own mind is broken. The musical themes contrast each other the high agitated strings and there's staccato pattern against the very nice legato lower strings indicate that there is something more to come. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What is Hitchcock seeking to establish with such specificity? Also, why do you think Hitchcock elects to enter the hotel room through the semi-closed blinds from the outside? Does this shot remind of any other Daily Doses we have watched? Hitchcock is establishing that it's late on a Friday afternoon which is important when our main character later needs to go to the bank to make a deposit. The overview of the city and entering through the window remind me of Rear Window. In the remainder of this sequence, we are introduced to Marion Crane (Janet Leigh) and Sam Loomis (John Gavin). The scene pushed the boundaries of censorship, especially considering our last Daily Dose for North by Northwest was edited for a line of risqué dialogue. Since this is the opening scene of Psycho, how does the hotel room scene function as a way to establish Marion Crane as a main character? Defend your answer. It's interesting that we meet Marion in a cheap hotel room with her lover, when later she is killed in another cheap motel room going to meet her lover.
  10. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. The flirting is emphasized by the role reversal and that she's picking him up. By this time, we know that Cary Grant is a ladies man and from the interview I love Eva Marie Saint's description of the sexy spy lady. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In that sense, discuss how Hitchcock uses the R.O.T. matchbook as an important piece of acting business (or as a prop) in this scene. The matchbook this adds to the sexual tension as she blows out the match. How is Hitchcock using sound design in this scene? Consider music and other background sounds in your answer. Music is at a minimum, the main sounds that we hear are the conversation with the background noise of dishes clinking against the sound of the train.
  11. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. I have seen Vertigo and it is my favorite of Hitchcock's films, but I think the title sequence elicits the dizziness of vertigo (something I have experienced). I also think that paired with the images the musical pattern that develops with the repetitive scale played by the strings and the trepidation caused by the base of the trombones causes tension for the audience as suspense builds. In your own estimation, what is the single most powerful image in this title sequence? Defend your answer. The single most powerful image in this sequence is the straightforward placing directed by Alfred Hitchcock. I find this to be very powerful as it brings us back out into reality and tells this that Mr. Hitchcock is leading us down his chosen path. How do Saul Bass’ images and Bernard Herrmann’s score work together? How different would this sequence be with a different musical score? The images and score together work very strongly I watch this again without the sound and actually became very bored very quickly.
  12. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? I think that Hitchcock is trying to establish that the entire Courtyard is a character in the film much like Manderlay was a character in Rebecca. The vantage point is the audience's, Hitchcock is showing us the forest before we get to see each tree What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock gives us Jeff’s backstory simply through visual design? We learned that Jeff is a world-renowned photographer who was in an accident, most likely the car wreck photograph is why he's in a wheelchair. We also learned that Jeff has been present during history making events, the picture of the atomic bomb test. Does this opening scene make you feel like a voyeur or, at a minimum, remind you of being an immobile spectator? What feelings does Hitchcock elicit from you as his camera peers into these other people’s apartments? I really feel the voyeurism in this film. There's a bit of discomfort and intrusion while watching the people begin their day. Bonus question: if you have seen the entire film before, do you agree with Hitchcock that this film is his most cinematic? I do agree that this may be his most cinematic film but it's only rival is North by Northwest.
  13. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific. Two instances of a criss cross in this opening scene are the way the taxis come in and the men come out at different angles seeming to cross. Then once the train is moving the crossing of the rails is very obvious. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, to clothing and shoes, to dialogue and speech, for example. The contrast between Bruno and Guy begins with them exiting the taxis Bruno is wearing two-tone wingtips and Guy more sedate Oxfords. The men's suits are also different Bruno is wearing a more formal pinstripe and guy is wearing a sport coat a sport coat over a sweater and different color slacks. I think it's funny that he points out the tie clip from his mother over the garish hand-painted Lobster tie. The other contrast between the men is how talkative Bruno is compared to Guy's interest in his book. While the visual design gets the most attention typically, how does the Dimitri Tiomkin score function as part of the mood and atmosphere of this opening sequence? Tompkin's score has two main motives in this beginning we hear the rising trombones as the porters retrieve the luggage, then we hear the Jazz elements when the characters exit the taxis. The difference in these two motives give aural evidence of the differences between the characters
  14. What Hitchcock "touches" do you see in this early scene from the movie? There two major things that I see in this scene: first, the use of light and dark as Cary Grant emerges from the darkness and then secondly, the camera angle as Grant crosses the room and Ingrid Bergman's point of view changes. How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? The lighting of the scene casts Cary Grant into a dark shadow which does convey the idea of a spy. Ingrid Bergman is held in brighter light yet her character becomes the spy, the one who really is hiding in the shadows. I love the way she nearly spits the word patriot yet Grant shows her that she truly does love the country and hated what her father stood for. Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? I don't think these rules challenge their well-known personas as stars. It's true that though G.rant was comedy star in the 30s he became more during the 40s I remember him as the submarine captain who wasa hard leader. And I always think of Ingrid Bergman in Casablanca in this film she still portrays the same young vulnerable heroine.
  15. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? One of the Hitchcock touches I see is that he's trying to tell the beginning of the story without any words: he pans the room and shows us the mess that it looks like they've been there for a while, he shows us that the husband is sleeping on the couch; therefore, there has been some argument, the fact that there are days worth of dishes tells us that they've been there for sometime. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? Like other openings he gives us a lot of information in the beginning. What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not? I love the leads in this movie I think they were paired very well. He is described as being henpecked which to me is very funny thinking of Robert Montgomery as being henpecked, knowing that after this movie he commanded PT boats in the Pacific. And Carole Lombard was already known for being the queen of screwball comedy. Together they just made this movie more fun.

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