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lilblue511

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Everything posted by lilblue511

  1. How does the opening of Frenzy differ from the opening of The Lodger? "Frenzy" starts with a peaceful and scenic overview of the River Thames. It almost feels like watching a travelogue. Then the camera comes in on a man giving a speech and then we see a body floating in the river. "The Lodger" starts with the murder right away and we see the crowds' reaction to the murder. It's not peaceful at all, it's chaotic right from the start with a screaming woman.
  2. 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? This opening scene seems more like a romantic comedy because it has a very light and airy opening-just a woman wanting to pick up a bird. There isn't any threatening music or characters. We get the idea that there could a romantic relationship in the cards for Melanie and Mitch. The only item that might be a little foreshadowing is the seagulls outside and the shop attendant telling Melani
  3. 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? The graphic design and the music have a choppy rhythm and look and some of the titles are in slices which is a foreshadowing of the shower scene. The music and the graphic design are very bold and "in your face" which I feel also describes the film. The music is quite unsettling, which fits the film as well. 2. Also, why do you think Hitch
  4. 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," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. Based on the sounds and images, I would think this film would be about someone's psychological problems.The way that it focuses on the woman's eye and zooms in, it's as if we enter her mind. The images give it a very science fiction vibe. The music sounds threat
  5. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, to clothing and shoes, to dialogue and speech, for example. Bruno's shoes are flashier and more stylish than Guy's plain shoes. I'm not sure if it's the way Bruno walks or the cut of his pants, but even his pants have more of a swish when he walks, compared to Guy. Guy seems more calm and quiet. Bruno starts the conversation, moves to sit right next to Guy and even shows off his tie pin. Guy just seems to take it all in and ea
  6. 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? This opening is different because it's not full of gaiety and music and crowds like the openings from the British films. It's got a very somber and lonely feeling to it. 3. How does this opening sequence use Manderley--the house itself--as a kind of character in the story? What affect does the flashback structure and the voiceover narration have on your experience of this scene? The flashback structure and the voiceover narrat
  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? I feel that the opening of this film fits the pattern of some openings we've seen in the Daily Doses. It's very jovial and fun and it's got music and laughter. That fits the same pattern as the opening of "The Pleasure Garden" and "The Ring". One way it deviates from those 2 films is that "The 39 Steps" doesn't have a sense of foreboding-that something bad will happen. It's also got the flashing lights tha
  8. 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. I feel that blurring the images and elongating the piano keys puts us in the mind of the main character as it resembles a dream-like sequence. It makes me think of how we day-dream or think about a memory--everything is blurry and out of proportion.
  9. 1. The part of this scene that instantly made me think of other Hitchcock films was when one of the men in the audience used binoculars to view the chorus girls. Of course, it made me think of "Rear Window", but also reminded me of an early scene in "The Birds" when Tippi Hedren's character looked across the bay at the Brenner family. She was spying on them, much like the man with the binoculars in this short clip from "The Pleasure Garden". 3. I don't feel that a lack of spoken dialogue detracted at all from this scene. The movement and pace and character reactions helped immensely.
  10. The city in this scene seems abandoned. It kinda reminds me of a town that has to be evacuated for nuclear testing. It just seems so lonely and desolate as Dix and the cops are navigating their way through it. The piles of bricks at the bottom of some of the buildings reminded me of pictures of Europe after WW2. It was comforting when Dix walked into the bar and there was music and another human.
  11. We can hear the train while we see the opening RKO logo and then it cuts to night with the train coming and the title seems to blast on the screen after a blast of light and sound. It reminds me of earlier films noir we've seen, it doesn't seem to add anything new and fresh to film noir. Maybe the rest of the film will have something new and inventive. I can see why Foster Hirsch criticized the dialogue, it does kinda sound like a parody of films noir.
  12. I think a film about a heist can make us think of criminals differently than we would if we were just watching a regular shoot-em-up gangster film. To successfully pull off a heist, the person has to be calm and very meticulous and go over and over the same procedure multiple times to help ensure everything will run smoothly. It shows us a criminal who has brains and not just brawn, someone who can think fast enough to stay ahead of the cops. If they weren't criminals trying to steal something, they could make a great addition to society by applying their smarts to something worthwhile and goo
  13. The director showed us a lot of contrast between cinema and television with the boxing scene. With the cinema, we could see the blood clearly and see the sweat beading on Ernie's brow. With the television, when the commentator was saying there was something wrong with Ernie's eye, we couldn't see the eye very well on the tv screen, but the cinema screen was able to show us the real-time view of Ernie's eye. The director shows us how much we can see with cinema by displaying the tv screen and Ernie watching it all in the same frame. Also, the director showed us that there are a lot of distr
  14. At the beginning of this scene, we get the feeling that Kirk Douglas' character is successful and in control and that Van Heflin's character isn't so successful or powerful and this is also conveyed in the way Douglas is standing over Heflin. However, that quickly changes when they share drinks and Heflin asks a favor and when Douglas isn't sure he can do the favor, Heflin says "Oh, you can do it. You will". In this part, we see Heflin become powerful. We can tell that Douglas doesn't really want Heflin to see Stanwyck and when she does come in, Douglas becomes more of an onlooker and thir
  15. I've noticed in a lot of films noir, such as this one, that innocent people do get dragged into these unexpected incidents, causing a lot of trouble and danger for them. Maybe one of the reasons this was a popular postwar theme was due to the witch hunt for communists back then and some of them were innocent people accused of being a communist when in reality they weren't. So the theme of innocent people getting in trouble was something that really resonated with folks. It was a surprising turn of events to see the wife take charge and speed away from the other car and actually manage to l
  16. One difference I noticed between this scene and the daily doses from last week is that you get the feeling that Hitchcock very obviously wants to tell us something with the the shoes and pant legs. The other films from last week want to tell us something too with their openings of feet, but it just feels so much more obvious in this scene. Just like the openings from last week, there is a lot of movement in this scene. It starts with the car pulling up to the curb, the 2 men walking and then the movement of the train. That seems to be a common element among some films noir. Once we see
  17. All of the daily doses this week seem to be taking us somewhere. Even though all of the main characters from the daily doses are around other people, they seem so alone and everything has a sense of impending doom. I suppose all of the daily doses this week show us some existential motifs in the fact that they portray doom, desolation and loneliness.
  18. This is a great opening for a film about a women's prison. Even from the very start, when we see the title Caged, we start feeling caged. It keeps us caged, just like the women because it starts with our view in the truck, looking out the caged window. Throughout the scene, we're inside with the women, looking out of the bars of the prison to the free world. During this scene, we're never outside looking in, we're only inside looking out. We can connect with Eleanor Parker's character in this scene, because she looks so frightened and trapped just like we would feel in her situation. We ca
  19. Like the opening scene from Kiss Me Deadly, this scene starts with a hitch-hiker getting picked up and takes place in a car. This scene from The Hitch-Hiker seems so desolate when it starts with the wind blowing the leaves and grass around the hitch-hiker's feet and gives me the feeling of them being in the middle of nowhere and of impending doom. When the hitch-hiker gets into the car, his face is kept in the shadows so we can only see the faces of the innocent men in the front seat and we don't see his face until he threatens them with the gun and moves into the light. At that point, all 3 f
  20. In this scene, we learn that the character of Christina Bailey is extremely desperate and it appears to be a matter of life and death for her to get away from her current location. She seems to be wearing only the trench coat and is pretty much in a state of hysterics. Mike Hammer reminds me of the private eyes from earlier films noir with not only his witty and and sarcastic remarks, but also with his quick lie to the police to help a girl in trouble which shows us he does have a heart. Even though he is annoyed and gruff with Christina Bailey, he can tell that she really is in trouble and he
  21. Orson Welles' entrance in this scene is effective because we only see him when the lady opens her window and the light shines right on him, highlighting just his face and we can tell Joseph Cotten is very surprised to see him. The tilted camera angle throughout the scene is very film noir. I like when Joseph Cotten lost Orson Welles in the scene and is at the fountain; the cupid statue seems to be looking at him and thinking, 'come on, don't you know he went into the booth right behind you?' I seem to remember a Remington Steele (tv show from the 80s with Pierce Brosnan) episode where the bad
  22. When John Garfield makes his entrance, his voice-over narration gives us a clue that things may not turn out good for him. Beyond that, he seems like a happy-go-lucky guy who is looking for work and is up for an adventure. When Lana Turner makes her entrance, I get the impression that she is used to getting what she wants out of men, but isn't very happy or fulfilled with her lot in life. To me, MGM black & white films always seem very light and crisp. They seem to have more lights and greys than dark and shadowy black. Their films noir aren't as dark and shadowy as other studio's films no
  23. When Peter Lorre made his entrance, he seemed like he was in his own little world. He was playing with his hat and talking to himself, but was abruptly brought back to earth when he entered his room and found it had been ransacked. Sydney Greenstreet entered the scene with a gun, yet seemed to be pretty relaxed, making a joke about not being able to clean his mess he made in the room. I liked Lorre in this scene because even though he is being greeted with a gun, he was pretty calm and relaxed as we can see when he lights his cigarette and gets comfortable. I haven't seen this film, but I am n
  24. I love the lighting used in this scene. When Katie comes into the cantina, she is a dark silhouette. When she is sitting in the cantina, she is light. Later, she is a dark silhouette again when leaving the cantina. Very artfully done. Kathie and Jeff both seem innocent enough in this scene, but we'll see. RKO may not have been on MGM's level when it came to technicolor, but RKO does a great job with black and white. I usually feel like I'm in for a treat when I watch an RKO movie.
  25. I agree! I watched Cornered today and lost track of who is who and what their agenda was lol.
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