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About pete23

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  • Birthday November 8

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    San Francisco , CA
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  1. Yes thank you for a brilliant summer. Now I feel lost without reading and looking at videos and doing quizzes! Until next topic!
  2. From the knowledge of Hitchcock working style--the closest of the modern directors who can or possess a trace of Hitch's ethics would be Scorsese. They are both visual people. Since Alexandre Phillipe said he would love to see more comedies from Hitchcock to which I agreed. To this I add the Coen brothers. They possess a dark humor that would be in line with Hitchcock's English black humor to a tee. John Williams, though he worked with Master before, I would like to have seen the collaboration comes to fruition. I think John Williams is more closely in style of Bernard Herrmann. As fo
  3. Vertigo is often quoted as Hitch's greatest film. How much do you think the San Francisco locations enchance the visual effects or is it irrelevant because it looked like a travelogue? Does that apply to the famous locations used?
  4. 1) Frenzy opens with a panoramic view of London. A travelogue made by an Londoner who had missed his city and wanted to share in its stunning view. Though the view of the Thames River is in both Frenzy and The Lodger. the difference is that Lodger starts with a scream, pan to crowd in frantic manner. With Frenzy, it opens so calmly and majestically that underlies what will happen later. The crowd is there more subdued than Lodger. Then we hear a scream and a body is discovered. 2) The usual touches are the use of public space. The crowd as a starting point of the story. He use of black hu
  5. 1. The scene opens with the yellow purse tucked a woman's arm as we see as the camera pans up to reveal a dark-haired femme in dark brown tweed suit leaving the train platform. Then we her unpacking in a hotel room. (Notice that her new wardrobe was not in bags. In the yesteryears, shopping for clothing is packed into boxes.) We come to know this woman is in a hurry. Then we see her washing out her dark color in the sink and voila she becomes a blond-a new identity. And she sports a new color palette of clothes along with a new sleek hairdo. We know from this transformation that Marnie is not
  6. 1. I have to say how excited to see Tippi/Melanie walked across San Francisco's Union Square (my hometown) gave me such goosebumps. She crossed Geary and Powell Streets where the fabled cable cars clanked its way to the stars was like a scene from a frothy romantic-comedies of that era. Think Doris Day/Rock Hudson. As she approaches the Davidson's Pet Shop, As she climbed the stairs and banter with the lady behind the counter, Mitch came in. Dashing, well-dressed and groomed, a younger version of Cary Grant (not as tall) caught the eye of Melanie. From there the scene takes on a light, comedic
  7. 1) The collaboration of Bass and Herrmann is extraordinary effective both visually and aurally. Herrmann's score of violin simulates the sound of screams coupled with the linear lines of Bass' graphic that looks like knives stabbing is so eerie. When I saw it on a TCM/Fathom event a few years back, as the credit begins, I found myself to be on-edge, nervous and highly alert to what is to come. 2) Hitchcock precisely set the exact time, date, and place as though as a police report would start out. He is giving us specific details for us to remember whether it is important or not. He wanted
  8. 1) The two leads as beautiful as ever does have genuine chemistry that is often cannot manufacture. This is what we call X factor. Cary Grant and Eva Marie Saint had it spades. Cary Grant had owned his persona of suave sophistication since the 1930s and Saint had been a model, a successful stage actress before her Oscars award. They were at the heights of their fame and beauty. Combined they made an electric scene in the dining car. The chemistry between Grant and Saint is unmistakeable. The attraction is heightened by the erotic banter however subtle it was. This is coupled by the fact the tw
  9. 1) The opening of the film title says just what it is. The strange green glow spirals and the very slow repetitive of the music gives a sense of being hynoptic under a spell. Certainly the extreme close-up of Kim Novak's eyes and mouth is very intimate as well the darting of the eyes as credits come forth. The close up is so tight that we see her pores is bit overkill obsession on the borderline of creepiness. Hint of the future mental state of the mad genius later on. 2) I have to say the detailed close-up shot of Kim Novak's eye. The eye which we have seen in Spellbound through the lens
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