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pete23

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Everything posted by pete23

  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
  10. 1) The opening scene is spectacular in the way it brings the audience into the narrative. The shot of the window out onto the patio and onto the buildings surrounding LB's own is vivid. The details of each of the windows are detailed down to the patterns on the walls. Each of those windows have its own stories to tell and the genius of Hitch is that fleshed out those details. I get a sense that he gave the background actors in those lodgings the freedom to improvise and create their own narratives. Each window is like a miniature screen of a movie with its own stories. But it is controlled not
  11. 1) 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. Criss crossing has an metaphor of how lives can be crossed. The criss cross of the train tracks is the most obvious. As well as the entrance of the two characters as they criss-crossed each other in the arrival of the taxis. The train track is more visual as it heads to become
  12. 1. As the scene opens, we see Uncle Charlie lying on a bed in a darkened room. He is smoking and the camera pans to the floor where a small pile of bills streamed on the floor. I get the sense this is not a man on-the-run or a man who is not bothered by his deeds. At first glance, I wondered where the money came from-a bank perhaps. He is non-chalant and very cool to the surface. A making of a psychopath. Since Hitch has dealt the themes of duality, we see the coolness and the anxious as the opposite. As the landlady informed Charlie that two men is inquiring about him. We saw nothing but calm
  13. 1. Describe how this opening is different from the multiple opening scenes you have seen in the Daily Doses from the British silent and/or sound period? The sound period ushers in a productive period for Hitch as he has access to bigger budget and the "stars" for his vision. There is not much difference with the exception of narration providing the set-up for the audience as I call it, we, the voyeurs. The narration by Joan Fontaine is quite faithful to the novel's opening and gives the audience a background into what we are about to see. 2. What are the Hitchcock "touches" in this open
  14. 1. Using specific examples, describe how Hitchcock opens The Lady Vanishes. What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay particular attention to the music. The opening is in public space beloved by Hitch. A hotel of nondescript with the exception of the cuckoo clock that marks time. The crowd of travelers are rested on their luggages waiting for the hotel manager as goes about his flight. The music is also a mood indicator which Hitchcock used to the maximum. The music is light and airy enough to present a mood of light-hearted
  15. 1. Now that you have seen multiple openings to Hitchcock's British films, how does this opening both fit a pattern you have seen previously as well as deviate from other opening scenes? It is in a public space. What set it apart from the previous opening is that we neither see the face just his back and feet as he purchase his ticket. I noticed the tilting of the camera at this point. It is something Hitch does later with Strangers on the Train which we are introduced the characters jus silhouette and shoes. Speaking of shoes. Shoes are so important in that it tells a story of the person.
  16. 1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? (It is fine to make an informed guess about the 2nd question if you haven't seen the film yet) The opening scene is certainly a plot base as the action set-up the introduction to the characters. From the intro of the characters, the plot takes over the picture in rapid pace with the characters in-tact to help it along. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later
  17. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. Alice as the scene begins it is in pure silence; but as she approaches the door we hear the rising voice of a customer talking about the murder the night before. Alice already preoccupied and dazed as in a dream go about her daily task as nothing is happening. It is conveyed through the silence beginning and the hearing of the customer is like what Alice's mind is saying out loud. 2. Describe the different ways that the sound design of this scene operates in coun
  18. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? The POV dolly shots were designed to put one into the character's mindset. As the dolly moves to and fro, we see what the character saw. It is through the lens of the character on these POV shot that Hitch put us, the audience, into the hearts and minds of those two boys as they are about to know what their future lies. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? It added suspense to the storytelli
  19. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The scene unfolds as one gent is sitting in another room observing through the mirror the action in the living room. His wife with his possible rival engaging what seems to be a flirtation. As it goes back and forth from room to room, we see the juxtaposition of the two narratives expressed in the brilliant editing. Though we see two different settings. It is open to interpretation to the audience. Hitchcock and his wife, Alma, were so brilliant in use of editing to tell a story or enhance it
  20. Sorry a tad bit late to the Party! But here goes. 1: The difference between Pleasure Garden and The Lodger: Obviously, Pleasure Garden had a sense of fun, lightness. But as the scene progresses it started with a promise of hope and as the newly arrived girl had gotten an entrance into the theatre world. In contrast The Lodger had a darker tones then Garden. It had added an element of deeper focus shadows which elevates the eventual tale. 2. The Beginning of Hitchcock's Style: The beginning of Hitchcock's signature is already defined by the opening of the Lodger. The extreme clo
  21. I can see the beginning of Hitchcock's signature. His penchant for blondes is evident. The camera on the moving feet of the hostesses coming down the stairs. The voyeuristic with men in the audencispoke volume in his comments on society's obsession being an observer. It is evident in the use binoculars. The use of stairs is used through his career. I do agreed with both Strauss & Spoto's assessment of Hitchcock. Sound is not necessary. His images, camera angles spoke volumes better without sound. If not, better. I got the sense of the scene.
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