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

ChristyKelly

Members
  • Content Count

    16
  • Joined

  • Last visited

About ChristyKelly

  • Rank
    Member
  1. Glad we have a group in our state! I'm in Pembroke Pines - not too far from Miami, anyway.
  2. 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, the murder and woman's agony is immediate and in your face. The flashing marquee sign, the woman's screaming face. In Frenzy, in direct opposite to the title, here is serene, pompous and proper London and Londoners, being supremely happy about cleaning up the river, when a body floats down the current to wrest people from their artificial platitudes. 2. What are some of the common Hitchcock touches that you see in this opening
  3. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? We already know that she uses disguises, she's extremely organized, does nothing halfway, and she has a lot to hide. She's also comfortable when she's in disguise and "in control." In what ways does Hitchcock visually reveal her character through her interaction with objects. She's fastidious about her packing, her wardrobe, her hair, exchanging ID cards in her wallet. She's impeccably dressed, with hair, makeup and nails perfect. She toes the key in the grate to dismiss the fact of her c
  4. 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? Well, Tippi knows nothing about birds, and she's willing to fake her identity in order to flirt with Rod. Rod knows very soon that Tippi knows nothing about birds. We also know that they will be a couple in this film. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? First, there's the c
  5. 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 is sharp and its movement of lines across the screen violent and strong. Likewise the music is making "lines" into your hearing, sharp, short, violent. There are sequences of smooth violin notes being played that suggest travel and movement. Nothing is still in this movie. It's action all the time. As the titles end, we have t
  6. 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. What a double entendre there is when Cary Grant says, "I know, I look vaguely familiar." I bet the theatre audience went crazy over that line. Eva Marie had bedroom eyes on him - all soft and dreamy. She's the open one, Cary had sunglasses to conceal himself. We're hanging on every word of what these two are saying by not saying it. T
  7. 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 music immediately conveys to me that this is an "otherworldly" film - on the order of The Twilight Zone or Outer Limits. The repeating flute sequence puts the audience on guard because we are about to plunge into the unknown. The close up of the various parts of t
  8. 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?Hitchcock in his opening shot shows us the cage that Jeff is living in as well as the other apartments full of other "zoo animals," each doing their own routine. He finally comes back to Jeff's cast keeping Jeff from his usual routine. Added to that is the heat which has Jeff sweating even when lying still. It is our POV here, as we get ready to know more abou
  9. 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.The movie opens with a picture of the U.S. Capitol building - perhaps a tongue-in-cheek reference to the way politicians "cross-cross" or double cross the hapless constituents by saying one thing and doing another. Then the cabs arrive. As the two gentlemen traverse the train station
  10. What Hitchcock "touches" do you see in this early scene from the movie? As the camera focuses on Cary Grant in the doorway - you're suddenly in Ingrid Bergman's aching head and seeing what she sees. Then begins the ultimate tracking shot of Grant moving toward the bed which pitches him upside down to Ingrid's eyes - oooh, my head! Fabulous shot. Seeing Grant in shadow is also a Hitch touch, as he doesn't want us to know who it is right away, because Ingrid isn't fully awake yet. Also, the extreme closeup of Ingrid's face and her agony at being awakened after a night of drinking puts us in her
  11. 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? Unlike The Lodger, The 39 Steps opens at a public stage in a big crowd of middle and lower class audience. the Lodger opened with the scream (albeit silent) of a murderer's victim. The 39 Steps does not reveal it's nature until several scenes later with the death of Lucie Mannheim. Likewise the Man Who Knew Too Much opens in a public sporting event introducing you to characters without many hints about what m
  12. 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) Most certainly the characters are more important - within the first 30 seconds the daughter and Peter Lorre were introduced. Lorre' manner is most interesting because he appears to be an innocent bystander. But the length of time spent in conversational banter leads us to believe that his character is significant. 2. What do you learn about Abbott (Peter Lorre) in his brie
  13. In the opening scene we learn without a shadow of a doubt that Uncle Charlie has got a problem. First of all he's lying on his bed fully dressed, not relaxed but playing with a cigar. Money strewn around, a mess, yet he lays immobile, thinking, thinking. His answers to the landlady are distant, depressed almost, like he no longer cares. Yet as soon as she leaves, he sits up, sees the detectives, and murmurs they're bluffing. All in all, Uncle Charlie is not who he seems, which is the crux of the film. The opening is definitely film noir, the mystery around this man who the landlady is conc
  14. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? The effect was mesmerizing, the audience is compelled to watch. If you were in that situation, you would not look away for fear something horrible will happen. Predator/prey situation. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? This technique created feelings in the audience of dread, anticipation and forboding as the waitress approached the two men in The Ring. It was a way of conveying an inesca
  15. Of course Ben Mankiewicz does it all the time in his film introductions but I had to laugh when he questioned whether the moon landing really happened in 1969. Naturally Ben wasn't even born...
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...