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Everything posted by tshawcross

  1. I don't know if posts can be deleted, but I don't suppose it matters, since you have also posted it in the Gypsy thread, which I shall read next. Good post!
  2. Perceptive comments, MsAllieB, but they appear to be about "Gypsy." This is the "American in Paris" thread. You should post this in the Gypsy thread, as it is an excellent post.
  3. I do not know how to post comments to Dr. Ament and Dr. Edwards directly, so I am commenting here: I really enjoyed your June 22 podcast. Great insights! Thanks.
  4. As we have learned, this film was shot primarily in Culver City, California, with only a few "famous landmark" sequences which were actually filmed in Paris. I was shocked to see how dirty the Palais Garnier and the Arc de Triomphe looked in the early 1950's! They were covered in soot. They are much more presentable now.
  5. This is a riveting clip, and I always enjoy watching it. The song is catchy, and the synchronized dancing of Donald and Gene is impressive, but for some reason I am most impressed by Donald's ability to change his facial expressions so completely and swiftly and in perfect synch with when the elocution coach can and cannot see him. For me, that would be more difficult than saying tongue twisters or doing a complicated dance routine (oh wait, I could not do that either).
  6. Insightful comment, ESei! You wrote "Why is Marilyn Monroe so often teamed with men who would fit this course's category of Beta Males? She is opposite Donald O'Connor in There's No Business Like Show Business and Tommy Noonan in Gentlemen Prefer Blondes. Any ideas on the dynamic here?" Another example that comes to mind is her pairing with Tom Ewell in the Seven Year Itch. The only exception that comes to mind is her pairing with Tony Curtis in Some Like it Hot, and even in that movie Tony was a female impersonator, ha ha. Now you have me wondering what the dynamic was . . . if you figure it
  7. Heather, your comment - the stereotypical “intellectual cannot be athletic or strong” man - prompted me to recall something I have not thought about for many years. When I was young, I saw an episode of "Mr. Peepers." starring Wally Cox, in which Wally won a challenge from a circus strongman. The strongman had squeezed all the juice (or so he thought) from a grapefruit, and he defied any man in the audience to squeeze even one more drop from it. Wally, whose character was a Science teacher, as I recall, used his intellect to determine exactly where to squeeze, and he amazed everyone whe
  8. Insightful point, Jon. You wrote: "Gene Kelly is an alpha-male only in classes on musicals."
  9. Thanks, PKayC, for posting the pic where Oscar Levant is scowling and looking like he is trying to hang a picture frame, while everyone else is beaming. I was thinking of this scene when I wrote my comment on this Daily Dose.
  10. As you watch the interaction between the four characters in this scene, what do you notice about the way they include each other or relate to one another? How is it different from early musicals we have discussed? Their interaction is that of an ensemble in which everyone is cooperating with each other to brainstorm a new show. Each member of the team has about the same screen time, and no one seems to be trying to upstage the others. This is a departure from early musicals where there is more competitiveness between the stars. What do you notice about the costuming of the characters th
  11. This post is about the Fan Panel presentations that were made last Thursday. I really enjoyed them and am looking forward to the Monday Fan Panels. The presenters provided some very interesting insights, as did the audience members who made comments. ​I am still wondering what the "L. B." stood for on Jeff's cast. IMDB says the character played by Jimmy Stewart was named L. B. "Jeff" Jefferies, but it does not say what the initials stood for. In Cornell Woolrich's short story, the character was named Hal "Jeff" Jeffries. I suspect the "L. B." was one of Alfred Hitchcock's inside jokes - o
  12. I do not see a message board topic for August 3, so I am posting about tonight's Fan Panel here: FAN PANEL #1: FRESH LOOKS AT REAR WINDOW DOUG LONG: Rear Window and Cornell Woolrich’s 1942 crime story “It Had to Be Murder” LESLEY M. SARGOY: Hitchcock's Uses Grace Kelly's Wardrobe in Rear Window to Visually Demonstrate the Lisa/Jeff Relationship CHRIS STURHANN: Inside Jokes in Rear Window ​I am looking forward to watching all three presentations, but particularly to Doug Long's presentation, as it appears to be about the differences between the story told in a film versus the story tol
  13. I suppose the first movies that we all think about when considering what Hitchcock might have made if he were alive today are the Sharknado series of films. Right? The horror sci-fi comedy disaster film genre so epitomized by the Sharknados seems to me to be where Hitchcock was going when he made the horror film Psycho in 1960 and sci-fi-ish disaster oeuvre The Birds in 1963. Both films included comedic touches. Last night, I watched Sharknado 2, and when the shark bit off Tara Reid's hand, I was immediately struck by how Hitchcockian that was (an innocent blonde attacked while in a pl
  14. In my travels, I have noticed that people who live in the deep South tend to emphasize the first syllable in all polysyllabic words.
  15. 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. We see that Marnie, like most of us, has created multiple false identities for herself and disguises her appearance accordingly. Just kidding about the "like most of us." But Marnie does appear to have multiple identities, based on her collection of social security cards, and she does appear to change her look with each new identity (in this case, her hair color and h
  16. Interesting point about the "people wrangler," Riffraf! I had not noticed that at all.
  17. Interesting point, Mandroid! If the wolf whistle were indeed an inside joke, then that would completely change how I interpret that scene. On a related note, on Sunday I watched Deadline at Dawn ​on Eddie Muller's Noir Alley segment on TCM, and I was completely in the dark about Susan Hayward asking "What did you want to be when you were 12 years old? Boob McNutt?" Eddie Muller was gracious enough to inform me that Boob McNutt was a comic strip character in the 1930's. Since I had not known that, I had no idea how to interpret Susan Hayward's question. Similarly, since I did not know that Tipp
  18. 1. 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) through their interactions in this scene? It was very illuminating for me to view the opening scene through the lens of Dr. Edwards' comment that the opening was a microcosm of the entire picture. I have not yet seen The Birds​, but now I am looking forward to it. I concur that the opening seems more like that of a romcom than of a horror film, and I suppose that was just Hitchcock being Hitchcock an
  19. 1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? Last week, I learned the importance of watching the opening credits, so kudos to Dr. Edwards for providing another chance to watch opening credits in today's daily dose, along with his (Hitchcock-inspired?) use of doubling to include with the credits the opening scene showing Janet Leigh. I thought the Hermann score was fantastic, and it
  20. 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 Thornhill/Grant line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. I think this scene is an example of what is called "breaking the fourth wall," a theatrical convention in which an actor addresses the audience in order to heighten a dramatic or comedic effect. There are many ways of doing this, such as when Groucho Marx would turn from the other actors and speak directly to the audie
  21. 1. 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," then the mood and atmosphere they are establishing) that this sequence is communicating to the audience. This course has taught me that I have been watching opening credits in the wrong way! Previously, I would tolerantly watch the opening credits, impatient for the movie to begin, and just look for new (to me) typefaces and to see if any of the actors liste
  22. I read somewhere that Bruno's lobster tie was designed by Hitchcock himself. The powerful claws of the lobster symbolized the powerful hands that Bruno fantasized about using to strangle his mother (and did use to strangle Guy's wife).
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