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About ThePaintedLady

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    Advanced Member
  • Birthday September 22

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  • Gender
  • Location
    San Francisco, California
  • Interests
    Vintage apparel, antiques, film noir, swing dancing, tattoos

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  1. I have ATT U-verse. I tried watching some programming on TCM app, through my Fire Stick but I keep getting an error message. Nothing will play. So I tried the Watch TCM app on my web browser and it says that it can't verify my account. What's the deal here?
  2. Same. Except I woke up super early (California) only to meet a blackout screen with "Content Unavailable". Moments like these make me hate Sling. I've also seen Force of Evil before.
  3. You're not the only person. I, too, am a HUGE Hitchcock fan, and I border on "not caring for" and "hating" Vertigo. I love the cinematography, the set location (I'm a San Franciscan), and the fashion. I just really hate the plot and the idea that a man has that much control over a woman to fulfill his selfish desire. I actually come out of the theatre angry each time I see it. My top Hitchcock films: Rear Window Foreign Correspondent Shadow of a Doubt Strangers on a Train Why do I stop at 4? Because the fifth one often changes.
  4. It has been a long time since I posted. I hadn't been watching too many modern films as of late. Let me clarify, I haven't been watching any modern, American films as of late. I've been on a Korean drama kick, and I just watched one film that blew me away. I would add this title to the list of international neo-noir. Inside Men (Korea, 2015) Director Woo Min-ho This film stars Lee Byung-hun, who has crossed over into Hollywood films (Terminator Genisys and Magnificent Seven). I might add he is one handsome man. He stars as the thug/gangster in the film. Cho Seung-woo plays the lead prosecutor. Cho has been added to my list of all-time favorite actors. He is an amazing actor and incredibly talented (he also does music and theatre). Watch him in "Secret Forest" available on Netflix. I will just use the wikipedia synopsis of the film: Lee Kang-hee, an editor at an influential conservative newspaper, raises congressman Jang Pil-woo to the position of leading Presidential candidate using the power of the press; behind this is his secret deal with the paper's biggest sponsor. Ahn Sang-goo, a political henchman who supported Lee and Jang, gets caught pocketing the record of the sponsor's slush fund, resulting in a dismembered hand. Woo Jang-hoon, an ambitious prosecutor, starts to investigate the relationship between Jang and the sponsor, believing that it's his only chance to make it to the top. While getting down to the brass tacks of the case, Woo meets Ahn, who has been methodically planning his revenge. Now the war between the one blinded with power, the one hell-bent on vengeance, and the one eager for success begins. My score for this film: 15/16 - Definitely a neo-noir. I highly recommend it. It is available on Netflix streaming. 1. Chiaroscuro for black and white films, intense or muted color in movies filmed in color (In either black and white or color, the technique is used to enhance the mood and/or the emotional content.) Yes. There are several scenes with muted color as well as contrasting colors. 2. Flashbacks Yes. The film starts in the present and goes back two years before proceeding with the present. As the story continues, there are multiple flashbacks to help explain/expand on pivotol plot points. 3. Unusual narration Yes. See above. 4. Crime/planning a crime (usually—but not always—murder) Yes. Lots of political corruption. Vengeance is a common theme as well. Lots of blackmail. 5. Femme fatale and/or homme fatale Sort of. There was a female character that was a fatale of sorts, but she was clearly working on the side of good. She was more peripheral to the story, but still an important role when it comes to infiltration. 6. The instrument of fate Yes. Key characters seem to inadvertently cross each other's paths that eventually lead to some type of epiphany. 7. Angst Of course. The "thug" in the film has the most angst and is driven by vengeance. The lead prosecutor, who has been past up for promotions due to his lack of connections, is driven by justice to help make a name for himself. 8. Violence or the threat of violence It's a violent film. There were times I had to look away, but I then realized that most violent acts occur offscreen. American films tend to be more "in your face" with violence. Not so much in Korea. The worst was two characters (separate scenes) having their hand cut off. Everything else is just fighting. 9. Urban and nighttime settings Yes. Set in Seoul with few rural settings (character in hiding). Mostly nighttime settings. 10. Allusion to post–World War II (or any postwar) themes Not really - Although they did make reference to North Korea and their threats of nuclear weapons, but it really has nothing to do with the plot. It was said more in jest. 11. Philosophical themes (existentialism in particular) involving alienation, loneliness Yes. The thug has moments in which he wants to be the type of criminal who loved and cared. He seemed to be the most conflicted. 12. Psychology (hypnosis, brainwashing, manipulation, amnesia) Lots of manipulation by the journalist and politician. 13. Greed Of course. The politician and journalist have pocketed money from a slush fund. Both are driven by power more than money. 14. Betrayal Yes. One character learns of a betrayal of one individual with whom he had a strong bond. 15. No stark contrast between “good” and “evil” (characters, forces, emotion, and so on) Good = Lead prosecutor; Goodness = thug; Evil = Journalist; Just plain bad = politician 16. Expertise triumphs, perhaps rather than “good” YES! I'd explain, but I don't want to give away any spoilers. Let's just say that the lead prosecutor has to listen to the thug's plans for their preferred outcome.
  5. Agree completely. I think Tippi Hedren is just an awful actress. It's her performance that makes me dislike The Birds, too.
  6. 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. Judging from the facial expressions of the seated guests, the mood seems to be that of frustration contrasted by the light hearted charm of Ms. Froy. In a way, she is already set apart from the rest as someone to pay attention to. After all, she is the lady who vanishes later in the film. The clock seemed like a cattle call which indeed it was as the innkeeper gathers all guests prompting them to reserve a room as quickly as possible. Yet, the clock also reflects an attempt to restore order amidst chaos. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. Peanut Gallery. They provide the comedic element, but they also seem to critique the situation and other characters on scene; sort of influencing or at least presenting to the viewing audience how we should see other characters/situations. 3. From their doorway entrance to their staircase exit, describe how Hitchcock uses dialogue, camera movement, and the placement of characters in the frame to establish Iris (Margaret Lockwood) as the star of this scene. First, I have to say that Iris is a total snob, and I'm glad she is put in her place as the film progresses. I can't stand her character. That said... Iris establishes herself as the leader of the trio walking in front. She is the speaker as she explains their reason for their early arrival from an outing. The other two just gaggle in the background. If either of them says anything not to her liking, she lightly scolds them. Ex: When her friend mentions eating a horse, she retorts "Don't put any ideas into his head." There is also this air of superiority as she corrects the innkeeper's pronunciation of avalanche (and he said it correctly). A bit of an insult considering the innkeeper is a polyglot. Iris is also a self-absorbed brat. Everyone is facing the same transportation problem, but "I have to get home tomorrow! How long before they dig it out?" It's all about her own needs. The innkeeper happily obliges to her every command all the while ignoring his other guests. Throughout the scene as the camera moves, Iris is always at the center until they move up the stairs and she leads the pack all the while (literally) talking down to them.
  7. 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? Pattern: Angled shots, long tracking shots, large crowds/spectators, entertainment/sports venue Deviations: In all previous openings, a crime and/or victimization occurs. (I believe Luis is a victim of the young girl's disrupting his ski jump). 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous opening sequences of his films? I agree. Donat's character is likable and his introduced to us in a light-hearted manner. There is no element of tension or anxiety. 3. Reflect on the role of yet another public space opening a Hitchcock film--this time a music hall--the prominence of a performer (Mr. Memory), and the reactions of the audience in the film to Mr. Memory's act. How does these on-screen elements play into the Hitchcock touch as described by Gene Phillips? The audience is in a location where there is an expectation of safety and security. The location is crowded and the lighting bright. A theatre isn't generally a place where crimes happen. Thus, anyone who keep their guard down. Crime is supposed to happen at night, in secluded areas away from public view. At least that is the expectation. Hitchcock reminds us, though, that threats to security can happen anywhere at anytime in full view of the public. This is repeated in other films like Foreign Correspondent, Sabotage, Strangers on a Train, North by Northwest, among others.
  8. 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) Considering this is an espionage theme, characterization is most important and we really have to pay attention to each character's persona and motivation. Who can be trusted? Who can't? Is there a red herring? 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? He seems like a good natured man but you know there is something duplicitous about him when he stops mid sentence when face to face with Luis. His fashion sense is a bit flashier than those around him suggesting that he is not like the crowd. Another issue here is his strong accent. Generally, (at least in American cinema) they are not to be trusted especially those with British, German, Russian accents. 3. We saw two opening scenes from Hitchcock's silent films in the Daily Doses last week (The Pleasure Garden and The Lodger). How is this opening both similar and different from those two films' opening scenes. Each scene goes right into the action: theatre show/gala, crime in progress and aftermath, ski-jump competition. They also contain a large audience. Each also has a victim of some type: victim of theft, murder victim, skier, though not necessarily a victim, loses a competition due to a young girl's carelessness. Differences: We have two productions and one crime. Both Pleasure Garden and The Man Who Knew Too Much start with a descent from a height whereas The Lodger does not.
  9. It's Doris Day's singing that makes me dislike this film. I felt it was completely out of place and a bit ridiculous.
  10. My tope of five. I feel that each of the characters had very strong character development and growth from beginning to end. Well, except for Robert Walker. He just gave a great performance as the charming psychopathic murderer. 1.Teresa Wright (Shadow of a Doubt) 2. Robert Walker (Strangers on a Train) 3. Robert Cummings (Saboteur) 4. Eva Marie Saint (North by Northwest) 5. Grace Kelly (Rear Window)
  11. Shadow of a Doubt as I am a fan of Joseph Cotton. I also like seeing Santa Rosa in the 40s. I also enjoy The Trouble with Harry for its black humor and the set direction.
  12. I had that problem, too, on my mobile device. I attributed it to being on the ferry as I was commuting to work. On my laptop, it played normally.
  13. I have to say that this is my first time seeing Blackmail with sound. I'm not sure I like it. I've seen it three times before as a silent picture, so it's a bit unnerving to hear the voices so high pitched. Anny Ondra actually had a deeper, huskier voice. Anyhow, on to the daily dose... 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. In this scene, we have two different "worlds". That of the public world (the shop and customer) and the private world (Alice's home and mind). The public world is noisy and the private is silent. When the two worlds merge, the public world is muffled as though Alice is trying to silence the reality of her justifiable crime. However, the shop customer imposes on the private moment as she stands at the entry watching the family eat breakfast (how rude!). She continues to speak as Alice is essentially trying to block out the moment, but the the word "knife" continues to impose itself on her world reminding her of what she had done. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, how does Hitchcock set up the shot where the knife flies out of Alice's hand so that it registers a shock in his audience? Pay attention to both what is happening visually and aurally. Be specific. The sounds are amplified which garners a reaction from Alice. "Knife" is shouted out when the knife flies out of the hand. The shop's entry bell is also amplified, which causes a stir from Alice (in her eyebrows). In reality, the sounds would be at normal level, but in Alice's mind, the sounds jump at her. This demonstrates the anxiety she feels. 3. Why do you think this particular use of subjective sound is not used frequently in cinema? Everything is about eyecandy and explosions in today's cinema. Their plots also lack depth. Today's audience, particularly American audiences, want to be entertained. They don't want to walk away from a theatre with questions. This is why you see many theatres dominated by the action packed blockbusters. There are films that can match the quality of Hitchcock films but they are not as widely marketed. I'm just glad that I live in a community (San Francisco Bay Area) where there remains an appreciation for the art of classic cinema. We have quite a few theatres that play classic films (pre 1965) or silent films exclusively. And of course there is the annual Noir City, Silent Film and Hitchcock festivals. So there is an audience out there; it's just not that big. I always enjoy going to the silent film theatre and seeing a much younger audience in attendance. It keeps the tradition alive.
  14. My favorite moment has always been the long shot in Young and Innocent. The song "No One Can Like the Drummer Man" has always brought a smile to my face, and it makes me get up on my feet (I'm a swing dancer). It was never released as its own single. The only copy of this song is in the film itself. The only other time I hear it is a rendition of it at a Hitchcock film festival. Both Castro Theatre (in San Francisco) and Stanford Theatre (Palo Alto) have the Wurlitzer organ and the organ player usually performs this song.
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