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gtunison

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Everything posted by gtunison

  1. What three Hitchcock films would you recommend as a way to understand Hitchcock to someone just discovering Hitchcock?
  2. The pace of the music telegraphs that this is a story with some twist and fast turns. The eeriness of the music scares you in the first 3 seconds and yet leaves you wanting more. The visuals are disturbing too with lines of dark and light reflect the tempo of the music and preludes the movies dark side with most shot in deem light. The day of the week is shown to reference it's the end of the week and nearly the start of the weekend. And the time of day tells us it is late in the afternoon in the sleepy town of Phoenix. The camera moving in from the outside in reminds me of Rear Window exc
  3. I feel they are being themselves in this scene. Especially Cary Grant. There is a cool and crisp element between them. You can feel the sexual tension they have. She draws him in with the match lighting her cigarette. He pulls back and she pulls him back and blows out the match. I love the sound of the train though the scene. Its almost like their banter is in rhythm with the train.
  4. The opening images gives me a sense that there will be many twist and turns in this film. The music gives me a clue that I will be shocked and frighten at times. The single most powerful image for me the sequence with the face. There is time spent on the face so it must be important to the film. I know when I first saw Vertigo I thought I must study this face. I will see it again in the body of the movie. The music and the images work together in conveying the thought of twist and turns in the plot of the movie. Very gripping music throughout the movie. At times it scare the crap out o
  5. This is my favorite Hitchcock movie. He opens the film with a morning view outside Jeff's world since he broke his leg and busted a camera during a car race. He is sleeping in his wheelchair and sweating in the 90 plus heat of the morning. Hitch gives us a look inside that courtyard and we are transformed into the wheelchair for a ride that is surely to get rough. ​Hitchcock has little movie stories within the story of L.B. Jeffers. We are drawn into their stories. It is very cinematic.
  6. Hithcock uses the camera angle nearly touching the train tracks as they cross from one to another. Also from the camera angles used with the cabs. One is left to right while the other is right to left. There is a contrast in the music between the two sets of shoes. The Black and White shoes have a loud section of music and a flamboyant fast walk to them while the set of black shoes is more reserved and at a much slower pace.
  7. ​It has the touch of Hitchcock with the panning of the dirty dishes and the game of solitare and Carol Lombard tossing and turning in bed. Suddenly a knock on the door and one eye opens. So she is awake. We are told from the camera POV that they have been in the room a few days by the looks of the dirty dishes. This scene sets up the story. We soon discover they have had a fight and vow not to leave the room till they make up. That is a MacGuffin. Montgomery and Lombard play Mr and Mrs Smith very well. They love each other but neither wants to be the first to apologize and they play c
  8. ​We learn that although Uncle Charlie has expensive taste in clothes and cigars and money just laying around he is not a choirboy. He is nice to old ladies and probably dogs but is waiting for something sinister to happen. He says to himself that the men on the corner don't have anything on him and walks right by them in broad daylight. There is the dimly led bedroom, the low camera angle with a quick zoom of the steps outside the boarding house and then we see Uncle Charlie laying on the bed. All quickly and with the music, out interest are peaked. ​The music score serves to built the
  9. 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? I say it is not that different. The house is also a character in the film. As the narrator tells us nature has taken over Manderley. The drive is grown over and though the house still stands, it is burned out and yet still a thing of beauty. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? He uses the camera to take us on a ride to Manderley. It is dark and dr
  10. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. When Alice goes into the phone booth to look up the telephone number you stop hearing the babbling lady. Alice is focused on finding that number when she comes across the number for the Police. She throws the book down and walks out of the booth only to hear the constant babbling of the customer. She is now focused on the previous night. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, ho
  11. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The boxer thinks back to when his wife was only interested in him as seen in the montage. He must be wishing he was in the party room with her by his side. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock uses to create that feeling of subjectivity. Knowing that his wife is cheating on him right in front of him
  12. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Both get the basis of the movie. In The Lodger it is murder and we know from the start because the first frame is a blonde screaming. In the Pleasure Garden we find girls coming down a spiral staircase and then we see them dancing on the state. Both use Golden Curls which is a Hitchcock trademark. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock
  13. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Knowing what I know about Hitchcock films if I did not know this was done by him I would thought it was just another silent film. But according to Strauss he does frame the shot so that the world is that staircase of what seems a never ending chorus of girls. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? I can see his use of sexy blond
  14. More in the style of ZAZ. Ron is clueless that he is a boob. To that he is a mixture of Nielson and Robert Hays from Airplane in the timing of the lines. Allen's characters are normal everyday people in extraordinary circumstances like a civil war. Brooks pays respect to the genre his is spoofing. It was a take on West Side Story and they wanted to make sure to include all the local stations in the big fight. Very exaggerated without the fine music from WSS. I would say Ferrell was a fan of the Three Stooges, Groucho Marx and Woody Allen.
  15. It was like watching an old cop movie or tv show. Very dry dialogue but punched with jokes. The Swiss Army Shoe is an example.. Some what similar but with bigger site gags. Drebins car scene has Frank go into cop mode, shooting at the car and asking did anyone see the driver. Then he realizes it was his car. Not quite over the top humor but very funny. Drebin is more vocal comedy where as Clouseau is more physical comedy. Both are bumbling but in different ways.
  16. 1. How does this scene successfully parody the old Universal Horror films of the 1930s? Be specific. Being shot in black and white, Gene Wilder over acts the role of the mad scienceist. It is parody with the lines like "give him an extra dollar" and in response to the student's question with "the worm or the spaghetti." He is subtle as he moves thru the scene. Having made his point he becomes aggravated with the student and stabs his own leg. It would have lost the 30's horror feel in color.
  17. The fact that Allen is involved with revolutionaries trying to figure out how to get some food and decide by drawing sticks. Allen draws the short stick and goes to the cafe and orders a ridiculous amount of sandwiches and drinks with a straight face as a matter of fact. It is verbal slapstick in the way it is done. It was not as over the top as The Great Race was. With it's cartoon feel The Great Race was more classic slapstick than Bananas. Bananas is more like watching a docudrama than a slapstick. I suppose that is the parody of it. Very dry humor with straight lines..
  18. When something is funny, it's funny the 100th time you see it as it was the first time. The Three Stooges are funny. I still laugh at them even though it is stupid, I feel like I was I could get away with some of the antics they get away with. We all know people that could use a hammer to the head on a regular basics. A pie in the face is funny too. And what fun it would be to be in a pie fight with your friends. Don't laugh at someone that gets a pie in the face because as we see from this clip, you are next.
  19. It has the feel of a cartoon because the music, the bright colors and the moving bush. It gives homage to earlier slapstick with the exaggerated way they tied the rope on Tony Curtis and the huge arrow launcher and the costumes of Professor Fate and Peter Faulk. The Great Leslie is depicted as the definitive hero with his twinkling smile and he is dressed in all white. Whereas Professor Fate is dressed in all black with a cape and a mustache associated with villians.
  20. The gag that stands out in this clip is when Clouseau attempts to put the pool cue back. It quickly turns into a wrestling match withe cue caddie winning. All the while George Sanders looks and simply says to him not to bother that the butler will take care of it. The Clouseau makes his exit on the wrong side of the door and says that Sanders should have his architect investagated too. Both are great examples of visual (wrestling with the pool caddie and losing) and verbal (redirecting the situation back to Sanders because he walked out of the room behind the door). Clouseau appears ph
  21. It didn't add to the gags if looked at from today's eyes. But in the fifties, people knew Lucy and Desi as little black and white specks inside a box. So to that audience it was probably fun to see it in color and on a giant movie screen. The fact that the trailer was stuck in the mud at an angle provides some laughs. The camera is level but the shot is on an angle and it put the viewer in the scene. Lucy is funny trying to get into bed. She manages it if she stays stiff but when she relaxes, she falls out of bed. Then she gets up and the jack falls and so does the trailer and Lucy rig
  22. He is nice to kids and dogs. The building is a series of steps and mazes. He has to go up and around and down to get to his apartment. I thought of Peter Sellers.
  23. The Marx Brothers verbal slapstick is faster and more twisted. Where as Abbott and Costello are slower and straight forward. Abbott is always the straight man with down to earth advice where Lou is more in a panic at times. Gehring's is right about today's comedians.They tend to have bathroom routines and potty mouths. They lack the art of verbal slapstick. We have relaxed the standard of comedy to an all time low. You can be funny and not be vulgar. I think the biggest contribution of Abbott and Costello is the gag is Lou panics and Bud has to reassure that whatever he thinks is happe
  24. I think Fields says what we are thinking and could say sometimes. Fields tends to talk to himself more and is bombastic with what he is saying. When he walks into the bar and starts to walk between the booth and the post he says to himself referring to Joe the bartender that he needs to vasoline the place or move the post over. Then he orders a drink. Joe puts the bottle down in front of him and a glass of water. I always expect Fields to chase the shot withe the water but he washes his hands in it instead.
  25. It is hard to tell which came first, the definition or the act. The Marx Brothers hit each of Dale's definition on the head. It is almost impossible to keep up with the gag because Chico and Groucho move at breakneck speed and each inputs their sarcastic remakes. They are masters of verbal slapstick. They include all of the characteristic gags. The sarcastic remarks about the party of the first part being the party of the first part and so on. Chico quickly turns the first party around and asked why the party of the first part be known ast the party of the second party. Groucho tells him h
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