Scripty

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  1. Good Evening... A few of my favorite films that I believe have some of the Hitchcock Touches are: -"Double Indemnity" (film Noir) -"Brain Dead" (tv show about bugs trying to take over the world - "The Birds") -"The Night of the Hunter" (Robert Mitchum stars-one of my favorite actors who plays a killer- ordinary ppl in extraordinary circumstances-suspense-thriller) - on TCM this Sunday; looking forward. Just a few that come to mind...if I think of more I'll post. Gonna miss this class.
  2. Hi Everyone! Is there a possibility that we will ever see Hitch's very first films, or destroyed in some way/partially found(?) that were spoken of early in the course...AND...are we absolutely positive that Hitch never discussed why he cut the rights to ROPE, REAR WINDOW, THE TROUBLE WITH HARRY, THE MAN WHO KNEW TOO MUCH (1956) and VERTIGO for so long? Did not mention anything to any still living person, not even his daughter as to what caused him to make this decision? Was he made at the studio? Thabk you so much for a fantastic journey into the mind of one of my all time favorite directors, person and fellow Leo, Alfrd Hitchcock. Demethress -( the "h" is silent-Deme, for short)
  3. Good Afternoon.... 1. Frenzy opens with an aero view of London, almost like a picture postcard. As the camera moves in we see a group of people on the embankment of the Thames listening to a politician talk about cleaning up the toxins in the Thames and then someone yells "LOOK!". Our attention is then focused on a bloated dead body of a half naked woman, face down, arms and legs spread out, in the water as discussions begin about what happened. The Lodger opens with a shadow of a man and then to the face of a woman screaming (only we hear nothing as it is a silent film.) next we see the dead body, fully clothed, lying face up arms and legs close to the body,on the embankment. There is a crowd of people watching as a woman describes what she saw. Next it's off to the presses with the news. 2. The camera in high angle looking down on the city, next a shot of the embankment, jump cut closer to crowd assembled, jump cut to the politician speaking. Close ups and the music which sets the tone in the beginning of a grand ceremonial atmosphere. Hitchcock was big on location and London was certainly a place to visit and explore. Also, he liked crowd scenes where things seem normal one moment then in the next breath something startling happens to make you realize you are not as safe as ypu thought (there's safety in numbers doesn't always hold true.) Hitchcock likes to have the audience "emotionally" involved and we are in this scene when the politician is speaking and when we see the body of the woman in the Thames.
  4. Good Afternoon.... 1. Marnie's introduction: two suitcases, one clothes neatly packed, straight from the box; the other tossed into the case no order; the pocket book is changed out, as is the Social Security card (choice of 3); the removing of the dark dye from her hair; putting of the suitcase i to a locker and tossing key down drain--all point to Marine as a thief covering her tracks. 2. Herrmann score creates a mood of anticipation rising and comes to a crescendo when Marnie rises from the sink, smiling and now a blond! The whole mood changes once this occurs and she gets rid of the old suitcase and is dressed to the nines and ready to go on the next heist; I mean adventure. 3. In most of Hitch's other cameos, he just walks across the screen or is sitting down or in a crowd, seldom looking at , in or back at the camera. Perhaps Hitch is no longer wanting to be incognito in him films; no more "where's Waldo?" No more Hide and seek so to speak. Not really sure.
  5. Good Evening... 1. We learn that both are playful. When Mitch asks Melanie for help, she acts like she works at the Pet Shop and its clear when he questions about the red birds that he know she has no clue what love birds are; yet she continues in the charade. Definitely, there seems to be budding chemistry between them which makes for a great romantic comedy....at least that's what Hitch would have us to believe this movie is. Or is it????? 2. When Melanie hears and sees the swarm of sea gulls hovering over the city, its startling and set a chilling bmood. Then once in the pet shop, the sound of many different birds is sweet and much softer (even though there were some rather boisterous birds) that along w/ the playful dialogue create a happy, more calmer, less threatening mood. 3. Hitch exits the pet shop w/ his two terriers as Melanie enters. As I read in the notes about "doubles", there are Two people looking in the window, Hitch & Melanie pass in shop doorway, Hitch walks his two dogs & there are two people walking behind Hitch. This ties into Mitch's request for two lovebirds.
  6. Good Evening... 1. The music (violins) is piercing & sharp along w/ the lines moving in & out of each other: left to right & top to bottom, as they come together to form the players names and the title of the film which creates a kind of frenzied anticipation; you sense something horrible is going to happen. The grey lines revealing white letters against the stark black background also adds to this mood/tone. There is something about a black & white film that invokes an eerie foreboding that makes you curl up into a fetal position under the cover, only your eyes showing. Scary. 2. Not sure what "FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M. signifies, however, this is an explanation I found on the internet: "The opening title card tells us the date is Friday, December The Eleventh, Two Forty Three PM. So the entire movie takes course over the middle week of the holiday season." So, this is even more horrific, a horror film shown during the happy, joyful season of Christmas! Very Hitchcockian! Approaching the hotel through the semi closed blinds reminds me of Rear Window, Jeff 's voyeurism revisited. 3. The hotel scene focuses on/establishes Marion as main character in the dialogue. She is clearly wanting more from Sam; she wants to see more of him outside of cheap hotels, she wants more than skipping her lunch hour with him; marriage is an ideal option for her.
  7. Good afternoon... 1. "I look vaguely familiar" is a line that brings home "yes, as a matter of fact, you look VERY familiar; you both do!"Cary and Eva are two actors whose faces the audience knows very well, maybe Cary more so than Eva, bit this line is funny and invites the audience in on the joke. "Of course, we know who you are, Cary, Eva!" Also, it ties into Eva's answer later on when she calls him out on the lie of who is really is in the picture. 2. The matchbook with Roger's initials is a tool Eve uses to cement her seduction of Roger. When he lights her cigarette, she takes hold if his hand and when he draws it away, she stops him and pulls it closer and blows out the flame- shades of things to come back in the room. 3. The music is soft and low, you can hear the glasses clang as they are put on the table and of course, the train as it moves along the tracks. There are points where the familiar "love theme" ( the sound of violins raise up) and you get the feeling that the characters are really bonding and the anticipation of them getting together is strong.
  8. Good Evening... 1. The image of the eye, the iris and the spinning graphics: some spin to the left, some spin to the right combined w/ the colors and the repetitive sound of the violins/flutes (?) and the booming horns create an eerie, melodramatic, ominous mood. I am scared and at the same time intrigue. I want to close my eyes but don't dare look away. The music pulls me in spinning I am in the eye. Love me some Hitchcock Touch. 2. The EYE has it. It begins and ends w/staring into the EYE. The red hue over the EYE coupled w/ the music is striking; (we will revisit the image in Psycho) Once we are transfixed on the EYE, there's no looking away. Then we are pulled even deeper by the spinning of the geometric images and the powerful music. Kudos Hitch! Kudos Saul Bass! Kudos Bernard Herrmann! 3. I think I answered this above. I can't image what Vertigo would be like w/o Mr. Bass & Mr. Herrmann as collaborators. Hitchcock is a master at getting the right people to convey his ideas to his audiences.
  9. Hellooooo.... 1. The opening shot is a pan of the set as Hitch's gives us the camera's eye-view of the apartments and the people living in them with a small glimpse of the neighborhood in the background. 2. We learn via a pan of Jeff's room that it's a hot summer day (sweat on his face even though he is in front of the open window); his leg is broken; he's an action photographer, his camera is smashed up - perhaps he was just a little to close to his subject. 3. During the opening scene, I felt like I was waking up and stretching as I looked out my window & checking out my neighbors as they begin their day. The music score was lively and then as we hear the music from the piano man's apartment then the ringing of the alarm clock, all create a feeling of "listless" from the heat and then enervated by watching Miss Torso finishing dressing and stretching. 4. Now that I know Hitch constructed a major set for the film, his mastery of camera angles truly adds to his "touch" & I totally agree with Hitch that this is his cinematic masterpiece; at least one of the many in my opinion.????
  10. Hi All! 1. The back and forth/ left-right motion of the camera following the walking shoes-the train rails crisscrossing, the crossed legs crisscrossing as the shoes touch, the two men seated across from one another even the hand shake crisscrosses. 2. The camera follows them walking and even their legs seem to crisscross from the knees down as they walk. Bruno's shoes are flashing white/ black spectators against a pinstriped suit, rather ugly tie (to me) and the name tie clip and he is very talkative despite his protest that he "doesn't talk much." "I certainly admire people who do things" is a line worth remembering when it comes to Bruno- foreshadowing of things to come. Guy is dressed conservatively, shoes match the suit and he only says three lines in their initial meeting: " Excuse me.", "How do you do?" and "Thanks." He's reading a book whereas Bruno is there for a purpose- looking for someone to exchange with. 3. The score starts off almost with an eerie melodramatic tone and then sets a more lighthearted mood when Bruno's & Guy's shoes step out the taxi; melodramatic again when seeing the rails back to playful when the shoes are in the train.
  11. Hi! In answer to questions 1,2 & 3: Hitch's use of a wide shot then dollying in to a CU of Alicia in bed, clearly not having a good morining yet she is lit in white light and then a LS of Devlin standing almost in silouhette in the doorway are defintely Hitch's touch. Also, Devlin is dressed in a crisp black suit (could be blue for all I know), hair perfectly combed against Alicia's messy hair (she even loses a piece) and dress not to mention the pain in her head that we see through her actions. The use of the upside down camera angle conveys the nausia Alicia feels over to the audience. With regards to the art direction, when Devlin walks from the bedroom into the livingroom to play the record, the camera angle is looking from the floor up at him as he exits and by the time he plays the record it is on his level. I notice the scones behind him almost resembles a cross ( I may be stretching it) but its a background to Devil-lin (hee hee) maybe a little black humor from Hitch. The pairing of Grant and Bergman is excellent in my opinion. The back and forth banter between them in the scene is prelude to the sexual heat and overall appeal of the two stars. Outside of Bacall and Humphrey, these are the only two stars I can envision in these roles who can deliver what Hitch wants to convey.. Job well done.
  12. Hi, I was having trouble with this yesterday so hopefully today I will be able to get it all in w/o being kicked out. Here goes... 1. The opening of the movie is a pan of the dirty dishes on the bedroom floor that lead up to Mr. Smith playing a game of solitaire. (Hitchcock's touch) The use of light, shadows & close ups. (Hitchcock's touch) The music helps to create the tone and mood of playfulness and upcoming comedic antics to come. (Hitchcock's touch) 2. So far in most of the films we have seen, Hitchcock's openings have been shadowed in darkness. The music foreshadowing upcoming tension and suspense; the opposite of Mr. and Mrs. Smith. So, I guess I don't agree with the statement this is a typical Hitchcock. 3. I believe Lomabard and Montgomery are a perfect fit. The chemistry is evident to me. Love them both. Good choice, Hitch!
  13. Hello! The opening of Mr and Mrs. Smith starts out focusing on the half eaten food on dishes and pans across the floor revealing more dishes and glasses, cups etc
  14. Good Afternoon, All, 1.) What I learned about Uncle Charlie is that he is being sort after by two men and apparently has charmed his landlady to tell them he is not home. When she comes to inform him of the visitors, he is resting in bed, an unlit cigar in his hand, seemingly unphased by the news; he doesn't even budge when the landlady tells him he ought not leave money lying around and that she is honest and doesn't have money problems. Once she leaves the room after telling him to rest and pulling the shades down, Uncle Charlie sits on the side of the bed, finishes his glass of water and smashes the glass, goes to the window, has a pep talk with himself, stores his money and cigars puts on his hat and exits. He walks right pass the two men following him as if to reinforce what he told himself "..you have nothing on me". Uncle Charlie's arrogance abounds, he can get away with whatever it is he has done. 2.) The opening of children playing in the street, then move in closer to the boarding house, closer still on the window, then into the room and dolly up to the bed where Uncle Charlie is "resting". The crispness of the black and white against the dark shadows in the room add to the mystery and suspense of the film. I don't remember The Killers so can't compare but based on the notes this is what I believe. 3.) The music in the beginning adds to the playful mood of hte children playing in the streets to the foreboding mood in the room and when Uncle Charlie goes to the window, the music does a upbeat, almost like Uncle Charlie is being fueled by his pep talk, he is ready to be defiant and the music crescandos highten the mood of anxiety...will he do it, will he walk up to them and defy them to challenge him? Not only does he walk right up to them, he almost bushes against one of the man's shoulders as he turns and walks away.
  15. Hello, Everyone, 1. & 2. & 3.) The opening of Rebecca is different in that it's a POV shot and the VOICE OVER of Rebecca speaking and the camera dolly movement through MANDERLEY and then you focus on the Manderley, which reminds me of Norman's house in PSYCHO; the way it was shot, the lighting made it appear very spooky, almost like a horror film, certainly I felt suspense lies ahead. Then we focus on a window of the house and then it fades into waves rolling/splashing over rocks, (again shades of PSYCHO: shower scene). The mood comes from dark and gloomy to crashing waves as we pan upward; the music still hinting at something ominous , despite the daylight, and there at top of cliff is a man looking troubled; he takes a step closer to the edge. A woman screams "No, stop!" and we meet Rebecca, a young woman concerned and worried, trying to help. The man Maxim de Winter is annoyed at her for screaming and shoos her away, dejected, she runs away. The music here after she leaves is uplifting, almost romantic tone - forshadowing things to come. #ClearlyHitchcockTouch Manderley is clearly a character in the movie, the pan of the house, the voice over brings you nearer the house as Rebecca describes her journey to the house and recounts her feelings about it. We, the audience are drawn in.

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