ewangk

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About ewangk

  • Rank
    Member
  • Birthday 09/03/1955

Profile Information

  • Gender
    Male
  • Location
    Halifax, NS
  • Interests
    Classic Movies, music
  1. I think it would be really interesting to have Alfred Hitchcock work with Danny Elfman on the scores to some films.
  2. I could not agree ore. Fortunately for me, I am retired, but I plan my day to start with the course, then move on to the other things in my life.
  3. 1) The lodger started with a scream, whereas Frenzy starts with a panorama, then closes in on a speech before that body is seen, and there is no scream. 2) There is the incoming closeup and the ramping up of the speech before we see the body. Hitch is in the scene. Then there is the POV of the crowd as we see the body. 3) Hitchcock gets us into the meat of the story very early. There is no beating around the bush, meeting the characters, we are immediately thrust into the action.
  4. 1) Marnie appears to be a very focused woman, knowing exactly what she wants to do and how to do it. She has obviously come upon a large amount of money, probably illegally and this requires an identity change which, according to her SSN cards, she has been prepared for. 2) Hermann has set us with a suspenseful theme that will echo Marnie's personality throughout the film. 3) I did not really like Hitchcock's cameo in this film, it started out okay, but when he looks back at the camera, it is just wrong.
  5. 1) The scene provides a romantic comedy beginning, when we have the mistaken identity by Rod Taylor of Tipi Hedron as the storekeeper. She does not come across as a storekeeper, but a woman of means, but lacking any knowledge of her trade. Rod Taylor picks up on this immediately and begins his flirtation with the impostor. 2) The sound of the birds before we enter the store is a lot more obvious than we truly encounter in reality, but the movie is called the Birds and the sounds pick up on this as the major theme of the movie. As we move into the store, the sounds become calmer and more in keeping with a pet store with many birds. We feel calm and relaxed about the store with little foreshadowing in this particular scene except we know the movie is about birds. 3) The fact that Hitchcock has two dogs results in us thinking that pairing is going to occur. Is the woman about to pair with someone, or buy a pair, etc.
  6. 1) I found the opening sequence and music quite "schizophrenic" which will develop the mood for the movie. 2) The opening sequence in specifying the day and time provides immediate insight on the actions of the couple, how they are spending working hours tending to their personal needs, which are supposed to be secretive, but Hitch allows us to sneak in through the window blinds. I find this scene has some similarities with Rear Window as it acting a little like Jeff's peeping tom escapades, only we are the peeping tom this time. 3) Marion is a rebel. Although, unknown to the viewer at this time, hotel/motel rooms serve a significant function to this movie.
  7. !) We are used to Cary Grant playing the debonair leading man who a woman could fawn over, and Eva Marie Saint is, well, stunning, so you expect the flirtation and the double entendre. 2) If there was any doubt in Eve's belief of who he was, it is now confirmed, however, we cannot assume she knows it is not Kaplan (Although this is revealed later) because, as yet, we do not who she is. 3) The railway rumble is constant throughout the scene and the music is "dining room" mello!
  8. 1) The vantage point is clearly that of the apartment and what can be viewed in the apartment complex courtyard.Hitch is establishing an urban setting where there is a community of people who do not really know each other, but are simply occupants of the complex. This is clearly an "establishing" shot that brings some of the characters into focus. 2) Jeff is an action photographer who is quite proud of some of his accomplishments. We are shown a broken camera, probably the result of the accident that broke his leg. Jeff is an adventurer who is tired of being out of the action 3) As I watched this scene, I felt that I was an observer of the human condition, with several different personalities being conveyed in the film. I found that I wondered about the other people, who were they, what makes them tick, what do they do for fun, etc. 4) in my fair opinion (and that is all it is) I really liked Rear Window but as pure cinema, nothing can surpass North by Northwest.
  9. 1) There are several indications of the criss-cross - the train tracks are the obvious examples, but we also see the two gentlemen crossing their legs. 2) The contrast is exquisitely shown when the two men initially meet. Guy is reading a book, whereas, Bruno has no book. Bruno is also far more forthright and invasive, shown, when he moves across from his initial seat to sit right beside Guy. The beginning also shows the remarkable contrast in the clothes that the pair wear, especially the shoes - Bruno wears a flashy pair, whereas Guy is more laid back with ta standard pair of brown (I think) shoes. Guy is a far more grounded person whereas Bruno is a little more out there in personality - the aggressor so to speak. 3) Tiomkin's score builds a sense of drama without the intensity of thrill at this point. He is setting the mood for a juxtaposition between the two main characters.
  10. 1) Hitchcock has always used lighting to empahasize a scene. In this scene, Grant emerges from the shadows of the door frame and and spins around in the shot as the POV of Bergman shows the complexity of awaking from a hangover. As they stand together later in the scene, the same angular light/shadows from windows are seen in the background. 2) The initial lighting of Grant in the doorway creates the impression of a man in charge. In contrast, the dim lighting of Bergman in bed creates the feeling of pain/illness. The business attire of the Grant character greatly contrasts the party dress that Bergman in wearing. I also note that when she gets out bed, her midriff is showing as she is not wearing the complete ensemble, she then appears again and you can see that she has put on the element of the costume that was missing to make her more "decent" in the eyes of Grant. 3) It has been a long time since I have seen the film, however, I will be watching it later today on DVD. Although Cary Grant is known for comedy, he also has a large number of serious films in his repertoire, which makes casting him in this film perfect as the shadowy spy. HE is far more serious in this scene than in the movie Suspicion where he is more carefree, a typical role for him. However, it is obvious that this can work in the film as he can provide the serious and debonair side without falling into the light-hearted. In contrast Bergman is perfect in this scene and I am sure in the entire movie as she is a serious actor who can play the role with intuition and strength. Hitchcock directs her very well in establishing the "femme fatale" role.
  11. 1) Hitchcock always makes great use of lighting with the angles and alternating light and shade in the backgrounds. This is readily apparent when the messenger from the office and the housekeeper approach the bedroom door. We also learn that the couple are more concerned about the state of their relationship than the cleanliness of the room, evidenced by all the dirty plates and trays littering the room, the unmade bed, etc. 2) I do not find this opening overly similar to other Hitchcock opening. There is no crowded room of milling people. There is no building of suspense. There is a smooth and breezy atmosphere of wedded strain and then blissful makeup of a happy marriage. At this point, there is no wondering of what comes next, but a wondering of what fun will we have! 3) There does appear to be good chemistry between the leads and both are excellent comedic actors and are able to work smoothly together.
  12. 1) Uncle Charlie is a dual person, dark and sinister, moody and carefree. Leaving money strewn around represents the carefree, while the moody lighting and the soft verbal reactions indicate the closed sinister Charlie. 2) This scene provides an element of dark foreboding that is classic Film Noir. I have not seen the referenced movie, but I have seen others and this has the very dark dramatic touches of classic film noir. The inner city, the men searching for someone and turned away, but waiting on the corner - just classic! 3) The score exudes the mood that Hitchcock was looking for in this dark sinister scene. It provides the impetus of a sense of foreboding while raising the tension in the character of Uncle Charlie.
  13. 1) This scene does not have a large grouping of people forming the beginning, whether it be in a hotel, theatre, etc. Instead, we have the solitary commentary of approach to a dreamlike sequence, wherein the lead female role provides us insight into the house to be known as Manderlay. Manderlay has an omnipresent hold over the film and becomes very important in the structure of the scene. 2) POV is strongly used in the approach of the unseen narrator as she approaches Manderlay. Hitchcock uses POV many times in the openings of his films and this again is one great example of this. Furthermore, the use of camera panning from the surging tide and waves, up the cliff to view the solitary person at the cliff edge is a great example of placing a sense of danger that Hitchcock like to imbue upon his audience. 3) The house becomes an eerie and haunted being in the opening and there is a sense of fear and foreboding for what will come later in the film. One thing that I note is a complete lack of any type of humour that had become typical of Hitchcock in his more recent British films.
  14. 1) I found this opening scene very typical of the Hitchcock style and I was utterly amazed that it almost felt like we were in treat for a silent movie until the two male friends entered jabbering away. There appeared to be an element of whimsy in this as well as the serious aspect of the avalanche, which is discarded as to be expected. The music filled a need to provide the light airiness of a folk art being at the basis of this soon to be, very fun romp. 2) Caldicott and Charters provide the light touch required of the material. Though, not expected to be the lead roles, they do appear to capture the lead at the beginning and you get the feel, that we are not finished with these characters as yet. 3) I was very impressed at the way that Hitch allows the innkeeper to walk straight past Charters and Caldicott to welcome the three women into the inn. You can immediately see that these women are an important part of the film and the future of the movie. They are centrally place throughout the scene and Margaret Lockwood seems to stand "above" the other two women and has the premium dialogue, which comes across as banter. One interesting note, that as a Hitchcock fan, Hitch tends to use blondes as his leading ladies and when this threesome first takes prominence in the scene, you tend to wonder which of the two blondes will be the lead, until you take note that the most relevant woman is the brunette when she takes control of the requirements. This film is always a favourite of mine, but it is also interesting to note that there appears to be far more "shooting" in the British period encapsulated by this and the 39 Steps, than was noted during his Hollywood years.
  15. 1) As with almost all of Hitchcock's films, there is a large group of people taking part in the opening. In this case, the Music Hall. As in the previous film, the main characters are introduced. However, as yet, nothing sinister has occurred. 2) I cannot necessarily agree with the sentiment, as the family introduced in The Man Who Knew Too Much is also seemingly, quite innocent until the murder. In this case, Hannay seems just another innocent traveller who has happened upon the Music Hall and its event. The same as in Blackmail, the opening sequence in no way indicates that there are any persons involved that are not innocent. In all of these cases it is not until the film starts to unravel that we understand the complexity of the situation that the lead is finding him/her self involved in. 3) This large group in the Music Hall inputs an element of early humour into the film. The large group is seemingly a safe group as there is an inherent "safety in Numbers".The audience members are having fun with Mr.Memory, but not at his expense, but their own.

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