Jump to content
 
Search In
  • More options...
Find results that contain...
Find results in...

Lucinda27

Members
  • Content Count

    25
  • Joined

  • Last visited

About Lucinda27

  • Rank
    Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I know I replied to this topic once before, but yesterday while I was cooking, I had The Bourne Legacy on TV. I looked up at there was a shot from above of the spiral staircase and one of the main characters going down to answer the door. The people she was about to let in were there to kill her. It reminded me of all the staircases in Hitchcock's movies.
  2. I'm sorry to say I don't know much about costume designers, editors, or art directors. However, I think of the more modern writers, I would love to have seen Hitchcock work with Nora Ephron. She didn't do suspense but she had a seemingly encyclopedic knowledge of movies, and she wrote funny yet poignant dialogue and scripts. For musicians, had he lived, Hitchcock might have continued to work with John Williams. He might also have worked well with Alexandre Desplat or maybe Nicholas Hooper, both of them creating amazing scores for some of the Harry Potter movies, as did John Williams. By th
  3. I don't know if anyone has mentioned Mission Impossible II. It borrows a great deal of its plot from Notorious. It must have been on the special features, because it's not in the trivia on IMDb, that Tom Cruise liked Notorious and particularly Ingrid Bergman. The trivia for Mission Impossible: Rouge Nation says that Tom Cruise first crush was on Ingrid Bergman in Notorious, and that Rebecca Ferguson wash chosen for this later movie because she looks like Bergman. The trivia for other Mission Impossible movies references other Hitchcock movies, so perhaps Cruise is a Hitchcock fan.
  4. Mr. Phillppe, 1. Would you every consider making a feature film? If so, what genre would be your favorite choice? 2. If you could remake any Hitchcock movie, which would it be and how would you adapt it for a modern audience? Thanks, Lucinda
  5. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. In The Lodger, we see the sign "To-Night Golden Curls", then the woman screaming and being strangled. In Frenzy, we have the long overhead shot of London and the bridges over the river Thames. Then the camera swoops in of a politician, speaking about cleaning the pollution in the river. I love the way Hitchcock does that. Someone says something in the opening dialogue that is juxtaposed with the inciting incident. A naked body of a woman is
  6. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects. First of all, I have to say that the yellow purse always bothered me. The color doesn't seem to go with the suit she's wearing. I think that's significant. We never learn anything about the persona she is leaving behind, perhaps the incongruous wardrobe choices are part of that identity. From this opening we know that the woman is changing identities. I never thought about it until watching this s
  7. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? When the scene opens we hear the seagulls right away. Of course, there is also the sound of traffic and other city noise, but the sound of the seagulls is more prominent. Then a kid whistles at Melanie, almost a bird sound. When she looks up at the birds, there is an extremely large number of gulls in the air. Inside the pet shop it's a different sound of birds, more friendly, and soothing
  8. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? The graphic design and the music work together perfectly, with the rhythm of the strings and the black lines rushing across the screen. I also like the way the words and music indicate the meaning of the word Psycho. They are disjointed and fragment in different directions in time with the music. Both working together makes me feel like someone in
  9. 1. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. Speaking purely as a woman who loves Cary Grant movies, who wouldn't want to flirt with him on the 20th Century Limited? Eva Marie Saint is gorgeous, he's gorgeous and neither one of their characters seem to have the usual sexual hangups. They are both free to enjoy each other's company in any way the choose. In a way it's sa
  10. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. The images and music together make me think of thoughts going round and round in my head. When a merry-go-round is going very fast, it's dangerous to jump off. I imagine that when the same set of thoughts are running around in someone's head, it can feel dangerous
  11. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? It seems to me that Hitchcock is setting up the environment of the film. The point of view is from Jeff's window because he is being pointed out as the protagonist, even though his back is to the window. We see two shots of him during the opening reinforcing this idea. The second time we get a full body shot of him with his cast, so we know that since the
  12. 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. At the very beginning before the credits cover up the background, there are two people who criss cross, each heading in different directions. Then, of course, there are the criss crossing tracks, Bruno entering the frame from one direction, while Guy enters from the other. Eac
  13. What Hitchcock "touches" do you see in this early scene from the movie? I noticed two things, the hair in Alicia's mouth when she's in the bed. When I watched the clip from Mr. and Mrs. Smith, Carole Lombard had hair in her mouth as the camera focuses on her when the maid brings the breakfast. However, the next shot of Carole Lombard the hair is pushed back from her face. As a former actor and director in the theater, I love those kind of moments. Ingrid Bergman leaves the hair in her mouth for quite a long time, then when she takes it out, there is one hair left that she has to take out o
  14. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? The scene is set by the camera panning the room. There is a fancy bed cover on the couch, the dirty dishes, and Mr. Smith sitting on the floor playing cards in his pajamas and robe. He looks over at Mrs. Smith in the bed and shivers. There is no dialogue until the maid comes. That's something Hitchcock has used before, establishing shots with no dial
  15. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. We know that "Mr. Spencer" has a lot of money scattered on the table and floor, which is incongruous with the dingy room and bed he's laying on. When a knock comes he says "Come in," with not much energy. He seems to be suffering from lack of motivation. When the landlady tells him about the two men who have come asking for him, he tells her they "aren't exactly friends". We know then for sure that they are after him and he
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...