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Everything posted by Lucinda27

  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
  16. 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 opening of Rebecca is different with the use of the voiceover narration and dream sequence. This establishes the house, Manderley, as a kind of character. Since it's burned out, we also get the clue that something dramatic happened there. Then the music becomes dramatic with a shot of the sea, and a man standing dangerously close to to the edge of a cliff. This implies that the man is somehow tied to Manderley, even though a woman is t
  17. 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. This is one of my favorite Hitchcock movies. The opening music is a light folk tune that someone could dance to. The setting is a hotel lobby with several people sitting around. An old woman comes to the desk to purchase something. The wind opens the front door. A man begins to shut it, but the old woman wants to go out. Then we have the cuckoo clock, the stranded passenger
  18. 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? The opening sequence of The Pleasure Garden begins in a theater, as does The 39 Steps. In The Lodger, we see the graphic depiction of the back of a man in a similar kind of coat as Robert Donat when he walks into the theater. Also in both The 39 Steps and The Lodger, we have the flashing marquee. I didn't see the opening sequence of The Ring, but the opening sequences of, Downhill, The Farmer's Wife, are n
  19. 1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? ​I may be wrong about this, but in a way, Hitchcock uses plot like he does his MacGuffins. The plot is there to help us explore the characters when something unexpected happens to them. Through the course of the movies we discover what the protagonists are made of. 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 in the film? For the most part Abbott is jovial, ex
  20. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? First of all, we hear the woman talking about the murder as Alice comes out of the living quarters. When she goes into the phone booth it is completely silent, but she sees the listing for the police court. The moment she opens the door we hear the woman, mid-sentence, talking again, and she never shuts up. The camera follows Alice, however. When the family sits down to eat, the only person talking is the woman customer, and she's talking about the murder. She must say the word kni
  21. Okay, I said that I'm not a fan of silent films because I like the whole package, but in this completely silent scene, I was paying more attention to facial expressions and body language of the four characters. I've never seen this movie, but it seemed to me that the young woman was lying, that Ivor Novello's companion was extremely nervous about what she was going to say, and Ivor Novello's character was completely confused about why he was there. The tracking shots gave me an ominous feeling. Especially when we saw the expression of the president (?) the young men were going to see. We,
  22. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? I liked what Hitchcock said in the interview segment in today's lecture notes. I had never really thought about a montage being a way to give lots of information in a short amount of time. In writing we'd call that an information dump. That's not such a good thing in writing, but in movies it can be a nice little break from the action, while still giving vital information the audience needs. In the case of this scene from The Ring, Hitchcock uses the devise of the husband being in one room
  23. One of the differences between The Pleasure Garden and The Lodger is in feel. The Pleasure Garden is light and fun. The girls dancing seem to be having a good time as are the male audience members. In The Lodger, the opening sequence shows us the shadow of a man, then a woman screaming, I assume being attacked. The feeling is ominous. The one similarity I can think of is that both women Hitchcock focuses on in the opening of both movies are fair haired. Some of the elements I noticed that seem to reoccur in later movies is the witness giving testimony to the police, the crowds pressin
  24. My answer to question number one is seeing the women coming down the stairs, the reactions of the men to the dance, and the cool blond who shuts down her admirer. I loved the shot of the sleeping woman, and of Hamilton smoking the cigar under the sign that prohibited smoking. I felt he thought he was above following the rules. Hitchcock has characters like that, for example, in Stage Fright, Jane Wyman's character helps Richard Todd's character escape the police, Jimmy Stewart breaks societal convention by spying on his neighbors, and so on. Then we see the young woman coming to apply for
  25. My husband and I love TCM, but we don't love paying so much for our satelite service so we can get TCM. Will TCM ever have online access independent of satelite or cable companies? I'd like to be able to access the programing through Apple TV, Hulu, Netflix, or some service like that and leave all those other channels that I don't watch behind.
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