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Everything posted by lizzya

  1. The two that come to mind would be composer Alexandre Desplat and director Stanley Donen. I picked Alexnadre Desplat because of his music for some of the Harry Potter films. I thought he would complement a Hitchcock movie nicely, with the experience of extraordinary music for extraordinary scenarios. Stanley Donen, I thought, would also be a nice complement to Hitchcock because of his movie Charade, which is called " The Greatest Hitchcock movie Hitchcock never made". My third pick would be, if he was still alive, would be Stanley Kubrick. I would choose him because of The Shining and his essence of a Hitchcockian mindset.
  2. The first one that comes to mind is Cape Fear, starring Gregory Peck and Robert Mitchum. This is like a southern Hitchcockian thriller, with Mitchum playing Max Cady, who stalks Peck and his family. Plus, there is a very Hitchcockian score done by Bernard Herrmann.
  3. My question is for both Dr. Edwards and Mr. Philippe. If you had to pick one Hitchcock movie as your favorite, which one would it be and why? - Lauren Applegren
  4. 1) The opening of Frenzy is different than that of the Lodger because, with Frenzy, it lacks the visual of the murderer, the victim alive, and the police treating the area as a crime scene, all of which are in the Lodger. Another difference is that Frenzy’s opening is in the daytime, where the Lodger’s opening is either at night or in the early hours of morning. One final difference between the two is that with Frenzy, a normal day is occurring along the banks, when the body of the lady floats by, compared to in the Lodger, where the body was already the central focus and already present. 2) The two touches that I see of Hitchcock’s is the bird-eye/tracking shots that open the scene and the fact that the scene is set on the river banks, a common place in England. 3) With Hitchcock’s opening scenes, it seemed that there were some consistent purposes for their origins. One of these purposes is to establish that bad things can occur in normal places and areas. Another purpose is to set up the story from the start, like introducing the McGuffin or giving information to the audience that the characters do not know. Both of these I feel are the most repeated with in his films, which for me, increases the suspense and dread because he is playing with fears, and the fact that anything can happen anywhere.
  5. 1) With the sequence alone, Marnie appears to be a complex, manipulative character, willing to do anything or be anyone for her progression and benefit. Visually, you can see her complexity through the two suitcases, one being messy and the other pristine, the compact with many social security cards hidden in it, and the new wardrobe in the clean suitcase, while her old clothes are strewn in the other, in addition to the hair dye. Through all of this, you can visually see Marnie getting rid of the old identity and bringing in the new one. 2) The way that Herrmann’s score is used in this scene is to help build the mystery and anticipation of Marnie and her complexity. The score starts out low and slow, which, for me, establishes the mystery and lack of understanding surrounding this character. The music than picks up when the clothes are being transferred and it hits a peak when the hair dye is being washed off. This peak in the music is the anticipation of the new ‘version’ of Marnie and what will occur from it, which is shown as this pretty blonde. 3) The only variation that I really noticed is that Hitch seemed to break the fourth wall, which might be his way of establishing his curiosity of Marnie to the audience, since this happens after she walks past him.
  6. 1) This scene has several instances of a romantic comedy opening. For instance, Mitch sensing that Melanie does not really work at the pet store, and giving her a hard time and amusing requests. We learn that Melanie is an upper class socialite that does not have a care or worry in the world and Mitch is some kind of businessman with a sarcastic sense of humor that takes revenge on those who are not truthful. 2) The sound design, specifically the birds, is used as a conversation starter about its occurrence and foreshadows the birds as being a big part of the later plot. The mood and atmosphere the bird sounds create is one of dominance and overpowering because the sequence has more bird sounds than human sounds. 3) Hitchcock’s cameo occurs when Melanie enters the pet shop and Hitch exits with two white dogs on leashes. This cameo does nothing, for me, in meaning besides add to the fact that this scene is set in more in an upper class area of the city.
  7. 1) For me, the score represents the main themes by sounding very hurried and anxious, like how Marion Crane is when she leaves Phoenix, which is conveyed perfectly with the string instruments. The graphics, even though straight lines, tells a lot about the main themes of this movie. I feel the lines mainly represent the travels of Marion from Phoenix to the Bates Motel because of the Interstate. I felt this also led to some of the anxiety of the beginning of the film because of the isolation of the interstate and having the thoughts she was having about her scenario with the money. 2) I think Hitch is trying to establish the specificity to sort of give accountability to Marion and her actions. Also, probably to show the relation of time between the thought of sneaking out of town and putting forth the plan to execute the thought. Hitch enters from behind the half-closed blinds to reiterate the voyeuristic feelings that the audience will feel when viewing this scene. This sequence reminds me of a cross between the scene outside Uncle Charlie’s apartment in Shadow of a Doubt and Jimmy Stewart’s neighbor-watching sessions in Rear Window. 3) This scene gives Marion the motive that establishes both her as a main character and the progression and purpose of the movie: the disparity to be with Sam and doing anything to fulfill it. If this scene was any different or did not exist, I could not say for sure if I would consider Marion a main character because of it.
  8. 1) Our pre-existing knowledge of Cary Grant and Eva Marie Saint creates meaning in this scene by reminding us that the insinuations and vagueness were typically of their character types when flirting. They were not the type to explicitly state anything, which I think adds to the sensual feeling of scenes like this, in addition to being a lure and drawing someone in. 2) It seems that the R.O.T. matchbook was used to create wonder in the mind of Eve Kendall. She seems intrigued at the fact that there could be more to Roger Thornhill than meets the eyes, which followed the exchange that the matchbook created. I find it interesting that something as simple as a matchbook could create such complexity in the mind of a character. 3) The sound design, in this scene, is quite delicate and simple. All that is heard is the train against the tracks and a light violin. I feel this addition of the violin shows us by sound the connection and flirtatiousness that Thornhill and Kendall are exhibiting visually on screen, which magnifies the attraction and emphasizes the importance of it to the storyline of the movie.
  9. 1) Based off this sequence, this movie, I think, would be about a surreal reality mixed with slight paranoia and the feeling of being watched or watching over your shoulder. This sequence tells me that everything will not look like it is supposed to be, and that everything will have several twists and turns in the search of a resolution. 2) The single most powerful image in the sequence, for me, is the close-up of the eye getting wider and turning red with the lissajous figure coming out of it. I picked this because this image tells me that one of the characters might be assuming the identity of someone that does not exist, but is hard to prove otherwise because of not knowing what is reality and what is not. In addition, the lissajous figure tells me that there will be obstacles in trying to find the true identity of this person. 3) Saul Bass’s images and Bernard Herrman’s score are perfect together. These two go back to Hitch’s love of visual storytelling for me because Bass’s images are visually showing what Herrman’s score is providing for the auditory senses. This sequence would not work with any other score. I feel that the images and score were made exclusively for each other and if they were mixed and matched with other images and scores, the effect would be completely lost because their purpose, to be together, would be lost.
  10. 1) I would describe the opening shot as a well thought out and smooth because it helps establish where the majority of picture will take place, who will be involved and from whose perspective we, the audience, will see it from. I would say that the vantage point might be that of an innocent spectator who lives in the same building as Jeff. 2) We learn a lot about Jeff in this scene. The information about his job, and possibly how he got injured, are shown to us through the broken camera and the pictures of race cars that are up close. We also learn that a favorite topic of his seems to be women, since there was an exposure of a woman’s portrait that sat next to the magazine where the picture came from and because several women are focused on in the movie itself: Ms. Lonely-hearts, Ms. Torso, Lisa, Lars’s wife, etc. 3) I do feel like I’m a peeping tom, when watching this scene. The reaction that Hitch’s methods elicit from me are that of wanting to turn away from the scenes and give those people privacy, but I also feel like I want to watch, like how Hitch talked about all people are pepping toms.
  11. 1) The obvious ones are that of the train tracks and the crosscutting of Bruno and Guy’s feet. Even though these may be obvious ones, I feel like they are quite effective because it acts as foreshadowing to their eventual meeting inside the train car, which is more apparent when the audience sees both men entering the same terminal. 2) The main way that I see the contrasting between Bruno and Guy is their clothing. Bruno is dressed in more attention getting clothes, with wing-tip shoes, while guy is, basically, in monochromatic clothing, making him less noticeable. Another way I see contrasting is through their dialogue and demeanor. Bruno is more relaxed and acts like a fast-talking salesman whose main motive is persuasion and manipulation when he smells a weak person, while Guy is more introverted and acts like he is trying to blend in with no intention of meeting or socializing with people on the train. 3) The Tiomkin score furthers shows the differences between Bruno and Guy. Even though the music for both is virtually the same, there are slight changes for each one. When Bruno exits his cab, the music is stronger in notation, compared to when Guy exits his cab, the music has a lighter and delicate notation in one area. The overall feel that Tiomkin’s score gives the opening sequence is that of which mimics the hustle and bustle of a train station and of people trying to make their boardings. You can hear the ‘hurry’ in the music, which I find quite effective in portraying the mood.
  12. 1) The first “touch” I see is right at the beginning of the scene, with the close-ups of Alicia. The way that it cuts from at the foot of the bed to right next to her remind me of the scene from “Shadow of a Doubt”, where hitch does the same cuts from outside Uncle Charlie’s apartment building looking at his window and then being right next to the window. The next “touch” I see is the POV shot of Grant that moves as Bergman is rolling on her back on the bed. The last “touch” is Devlin playing the recorded conversation of Alicia, which to me mimicked an auditory flashback, since the characters were the frame’s focus and there was no other sounds during the playing of it. 2) Hitchcock seems to frame, light, and photograph Ingrid Bergman in more of a less threatening way, where Cary Grant is the opposite. Both are photographed and framed relatively close up, but the lighting is what makes the difference. Bergman appears to be portrayed as indifferent and non-threatening, while Grant, probably from the perspective of Alicia, is portrayed as someone possibly threatening and irritatingly persistent; hence the black outline as our first visual of Devlin. 3) Based off this scene, I think that Ingrid Bergman’s persona is challenged, as is Cary Grant’s. Alicia is someone who seems to be dismissive and borderline belligerent, something not associated with Bergman, while Devlin is acting like a pursuer for professional reasons and not a charmer, which is something not associated with Cary Grant. Even though these personas are challenged in this scene, I feel like it give the actors an opportunity to flex their versatility muscles. Performers, like Bergman and Grant, are so easily put into one category that it makes the universal reason for these actors purpose, to be versatile with each character, seem like it is irrelevant to the business.
  13. 1) The touches that I notice are mainly camera shots. For me, the Hitchcock shots were the long, continuous ones, with minor cutting in between. Noting from the curation, this is an element that I feel could be a part of the ‘velvety’ feel of this movie. Mainly through the set, dialogue, and the interaction between the main characters and secondary characters, we learn that this ‘married’ couple is very in love with each other and that everyone else are not sure, except for Mr. and Mrs. Smith, of why they have been in their room for three days. The comedy in the dialogue reflects the confusion surrounding the Smiths’, especially when the lady who answers the phone, talks about how she is running out of dishes because of them. 2) I don’t think that this opening is typical because, to me, it looks and feels so much more complex and layered. There is more visual information that is given to the audience, and it is not quite as easy to put together into a conclusion as to what is going on, compared to the opening of “The Man Who Knew Too Much” where you can figure out the happenings almost immediately. And I feel that this could make it more engaging to watch because you have that sense of not completely knowing the happenings, which is another Hitchcock touch done subtly. 3) I think that Carole Lombard and Robert Montgomery are great together for many reasons. One of the main ones is that you wouldn’t expect people who look like Lombard and Montgomery to be in comedies, and this, for me, breaks molds that I feel actors often get put into, regardless of whether they have experience in that genre or not. So, it sheds new light on or reiterates the versatility of actors who might be typecast into a particular role based on looks or experience. For me, one main issue I have with pairs sometimes is that very few leading ladies can hold their own against the leading men, and Carole Lombard does great on being at the same level as Robert Montgomery, instead of him overpowering her. This makes their chemistry more powerful, makes the scene easier to watch, and the “Comedy of Remarriage” looks like it comes more naturally.
  14. 1) Even through this brief clip, we learn a great deal about Uncle Charlie and his history. Hitchcock shows us that Joseph Cotten is wanted for something because of him being tailed by the two men. He also shows us that Uncle Charlie might not be the most stable-minded person, with the fact of him talking to himself while watching the men on the corner. I almost feel like that Uncle Charlie can’t be trusted, while also feeling like I need to cheer him on. 2) The main thing that makes this opening feel like film noir is how it’s photographed and the accompanying music. The photography and lighting of this scene is quite spectacular. Shadows dancing across Cotten’s and his land lady’s faces makes mystery, while the music adds suspense and anxiety. I feel like this scene could come out of a detective movie or that a narration on what the character is feeling and thinking could come about at any moment. 3) Tiomkin’s score, I feel, does everything to set the mood, atmosphere and pace for this scene. Without it, the scene would nowhere be the same. The music starts the mood out lightly, and gradually makes the mood more suspicious when the two men come in the picture. The pace is also varying as well. One specific place was when Uncle Charlie was leaving the apartment building. The pace and tone felt like a rapid heartbeat with the music, and it conveyed some of the anxiety that Joseph Cotten was feel when he saw and started approaching those men.
  15. 1) One of the ways that this opening sequence differs from the others is that it starts out with a dream-like sequence that visually shows us what Joan Fontaine is describing in her narration and introduces Manderley to us for the first time. I almost feel like there was some personification t the house because the way it was photographed made me feel like it was living. Another difference is having the two main characters meeting right at the beginning. This exchange between Maxim de Winter and the future Mrs. De Winter shows me that Olivier’s character is not the most stable, due to the either possible suicide contemplation or revisiting where the first Mrs. De Winter might have met her end. 2) For me, the “touches” would be the photography, lighting, and use of possible extreme scenarios. The way that the flashback was photographed and how the house was backlit reminded me of how the exterior house scenes in “Psycho” were photographed, and Olivier’s character on the ledge reminded me of Jimmy Stewart’s character at the beginning of “Vertigo”. 3) This sequence makes Manderley look like the central figure in the story. From this, I can get the impression that all roads will lead back to Manderley. The structure of the sequence and the use of narration made me feel weary around the concept of Manderley because it gave the impression that it was a unsuspecting place, like a haunted house, or a place that has a grave history behind it; something that would give Manderley an unsettling appeal.
  16. 1) Hitchcock is setting up a very warm, inviting, and happy-go-lucky scene thanks in major part to the folk music that plays throughout it and the exchange between the manager and old lady at the beginning. It almost seems to give a false sense of security because your initial reaction is that nothing bad will happen in this place or to these characters because there is no immediate threat. 2) Caldicott and Charters add in a comedic relief note to the hustle and bustle of being stranded in a foreign land. The analysis they give of Margaret Lockwood and her friends is amusing and the reaction of Charters to when the foreign guy does not speak English or when the manager does not start with English in his multi-lingual dialogue stretch reminds me of something that Laurel and Hardy would say in a routine. Just them pointing out the obvious is quite entertaining in itself. 3) Hitchcock makes it quite obvious that Iris is a main character from the beginning. The three girls and the manager are the only characters in the frame and it remain tight on them in a tracking shot that leads to the bottom of the staircase. The manager is being attentive to what they are requesting (Chicken and Champagne) and is primarily focused on pleasing his important guests. I almost feel that the tight tracking shot of them could double as the stares from the nearby characters, even though no one else is seen or heard until the girls and manager exit the frame.
  17. 1) Personally, I think that this opening scene actually incorporates was has been seen in the others. It has the first impression of something mysterious, like the Lodger, with the shadow of what turns out to be Hannay, at the ticket booth. It than becomes something jovial and light with people laughing and having a good time, like the Man Who Knew Too Much and the Pleasure Garden 2) I don’t agree that Hitchcock is trying to introduce a more innocent character. What I think he is doing is trying to make Hannay appear relatable and trustworthy to the audience, because he will play a big and possibly not so innocent role in the film. Hitch is trying to hook in the audience by making a good-looking guy appear to be one thing, while he may be hiding something else. 3) First, having the setting be a music hall goes to the point of Hitch using normal places and being suggestive as to evil that may be right under our noses. The last thing is the interaction between the audience members and Mr. Memory. This element seems to go with ordinary people being brought into extraordinary scenarios because I perceive Mr. Memory as trying to captivate the audience, which could lead to something bad.
  18. 1) I feel that the characters will be the more important to the film because you are first introduced to the characters, not the plot. Also, I feel that since the characters have made acquaintances with each other so early on, this would be an indicator that the focus of the audience’s attention will be on the characters specifically, what happens to them, and their dynamic as a whole unit. 2) With Abbott’s brief introduction, we learn that he is a very jovial and care-free guy, who takes nothing to heart and everything lightly. This introduction would tell me that maybe Abbott will not be a major player in later climatic sequences. He seems to be more of a supporting character, who follows the other major characters instead of leading them. 3) There is no direct similarities between this opening scene and the Lodger, but there is one similarity between it and the Pleasure Garden. Both of them had fun, little flirty comments made between guys and girls. One difference is that this opening scene is less technically pleasing, compared to the other two. The Lodger and the Pleasure Garden both had innovative shots, like the tracking scenes, where the Man Who Knew Too Much did not. It almost appeared to be cookie-cutter in a way. Another difference is that this opening scene had more dialogue and less visual story-telling, than the other two.
  19. 1) There are many ways that Hitchcock uses sound design to put you into Alice’s mind, but there are a few that I find most effective. The first is having the word ‘knife’ be isolated from everything else the other lady was saying. The other is having the sound that the bell on the door makes be drawn out, which shows how disconnected Alice was from the conversation at the table. 2) Hitchcock sets up the knife flinging scene, where we start out immersed in Alice’s mind and her attention to the constant repetition of the word ‘knife’. While we are distracted with that, Hitch adds the shock value when ‘knife’ is yelled and Alice starts, flinging the knife. 3) I think that this use of subjective sound is not common in cinemas because the films produced seem to have all the elements of a good scare incorporated in them, having that one climatic moment. There is no need for this technique, which is unfortunate because I think that it would make the films more enjoyable, since everything would be drawn out instead of giving it all in one scene. I feel that modern movies focus too much on confining the scare component to one moment, which makes the movie suffer because it is not spread out like a Hitchcock film.
  20. 1) The effect, I felt, was quite unsettling. The POV shots made me feel like the headmaster was looking at me or that I was the one that Mabel was scrutinizing. I empathized with the feelings that Tim and Roddy were expressing because I felt like I was in their shoes! 2) I think Hitchcock used the tracking shot to emphasize the unsettling and scared feelings that Tim and Roddy had, not knowing why the Headmaster wanted to see them. With this, it adds visual disgust that Mabel has and visual scrutiny that the Headmaster has, without any of it being verbal. I feel that this is a good example of Hitch’s fancy with non-verbal gestures and conversations. 3) Some specific connection between the films that I noticed: a. All of the films used close-up shots of a specific or all actors b. The Pleasure Garden and Downhill both used tracking shots; The Pleasure Garden being the binocular view of the dancers and Downhill being of Tim and Roddy entering the office c. All of the films used limited intertitles, which helped with Hitch’s “Visual Storytelling” d. The Ring and Downhill both used montage
  21. 1) He uses montage to create a joyous party scene, in which the husband thinks that his wife’s “affair” is occurring in. This idea seems to increase his jealousy even more, until he realizes that it never existed. 2) One technique is seeing the wife and the other boxer in the other room, through the mirror. This, to me, shows that the man feels distant and detached from his wife. Another technique Hitch uses is the overlapping of the wife and other man as what the husband only sees, giving a visual sense to his jealousy and rage. 3) One use of set design goes back to seeing the wife and the other man through the mirror, from the room the husband was in and vice versa. This gave a sense of them knowing that the other was watching, which to the tension of the scenario.
  22. 1) One similarity that I saw between the two openings was that they both contain close – up shots of women’s faces; the screaming lady in the Lodger and the lady in the binoculars in the Pleasure Garden. Several differences that I saw with the Lodger include the lack of intertitles, more visual stimuli, and the repetition of the “tonight Golden Curl” and “Murder” titles. All of these gave more emotional depth to it, because you perceive confusion, urgency, surprise, and fear. 2) The only elements I would think as “Hitchcock-ian” would be the close – up shots and the corresponding reactions that followed. 3) The way that Hitchcock shows the murder and then the girl screaming is the only way that this would work in a silent picture, due to the association of the figure, the girl screaming, and then seeing the girl’s body. This sequence also reminds me of the shower scene of Psycho, because you see ‘Mother’ outside the shower, Janet Leigh screams when the curtain opens, and then she is dead by the sequence end.
  23. 1) I do see beginnings of the “Hitchcock Touch” that are blended in with D.W. Griffith-like techniques of the era. One example would be when the girl is outside and the two men are looking at her purse. The way that Hitchcock shows the spotting of the purse I feel is something that is present in some manner through his career, while how it is shown visually is representative of the techniques of the time. 2) I would agree with Strauss, Yacowar, and Spoto’s assessments because there elements and focuses that Hitchcock always seems to include in his films, like women and man’s fascination, borderline obsession in some cases, with them. 3) This film being a silent one had no adverse effects on this opening scene. The intertitles, acting, both facial and physical, and techniques used conveyed the story beautifully.

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