Jump to content

 
Search In
  • More options...
Find results that contain...
Find results in...

brunafp

Members
  • Content Count

    16
  • Joined

  • Last visited

About brunafp

  • Rank
    Member
  • Birthday 02/18/1993

Profile Information

  • Gender
    Female
  1. I would like to ask about film noir in Hitchcock's works, in this course we've learned that he made three film noirs: Shadow of a Doubt, Notorious and Strangers on a Train, but other films like The Wrong Man and Stage Fright (sometimes I see Rebecca being considered as well) would also be considered film noirs, or not? And why? Also I would like to know Prof. Edwards and Alexandre Philippe's favourite Hitchcock movie and why?
  2. Even if I didn't know this was a Hitchcock movie I would still think this is a psychological suspense/thriller only by this introduction, and besides the coloration my favorite thing in this picture is the soundtrack, it evokes mystery and restlessness in a beautifuly efficient way. Personally my favorite image here is when the camera focus on the woman's eyes, it's powerful and give us the feeling of uneasiness that blends perfectly with the soundtrack.
  3. I was honestly waiting for the discussion about the incredible ability Hitchcock has with filming in a single set, I absolutely adore all his four films made this way (in fact, they are my favourites from him), I think this shows us how an amazing director he was, because to build an entire movie in a single place and not making it somehow boring or tiresome, actually quite the contrary, he creates masterworks with it, that's something that is really far from being easy. There's nothing artificial about this opening, everything is natural and realistic and once again we see how Hitchcock is really a silent picture guy, he's able to introduce us to a bunch of characters in less than three minutes without using a single word, just showing us enough to be familiar with them, for instance we know Jeff is a photographer because his works are shown to us. The director is also able to make us feel as a voyeur just like Jeff, he often puts the audience in the character's shoes. I don't know if I see this film as his most cinematic, but definetly one of the most. His ability to shoot in a single location was more developed here in terms of setting, but other pictures have other strong points, for example Rope was filmed like a single take style, which I love and it's very challenging to achieve, and Lifeboat had a somewhat more claustrophobic scenery since there's just a boat full of people in the middle of the ocean, the challenges to not make this a wearing movie is greater.
  4. One thing I'd like to add to the matter: I am a GREAT fan of film noir, and of course I love Strangers on a Train, I think it's one of the most notable films noir and one of the things I am really interested in this movie is the homosexual plot we can spot in the story, and how Bruno can be easily viewed as a kind of "femme fatale" (homme fatale, I guess, in this case), I think it's clear that Hitchcock is dealing with this suject here (and in Rope, more evidently), and this is a great example to show us how Hitchcock was a director way ahead of his time in various aspects. Here's a great link about the subject: http://www.derekdubois.net/2011/03/fatal-femme-bruno-antony-as-hitchcocks.html
  5. I love this scene, when I think in a Hitchcock's signature scene I always think in this one. The close-ups, the wonderful artistic work done through the POV shot, put all this together with the noir lighting and cinematography and great actors and you have this marvellous result. And I actually think their personas are being challenged here, for instance we have this big Hollywood star very drunk, putting aside this image of glamour and showing herself more human, and Cary Grant carries this dangerous air, appearing almost threatening, and he's an actor that usually played more light-hearted roles. I think all this would be unusual for big stars at that time.
  6. For me the most evident Hitchcock touch is the close-up given to the characters, it's often used by the director as a kind of greeting card, he seems to like to introduce his characters this way. Here we see this couple and it's evident there's often trouble and quarrels between them, we can see this even through the set, the way the room is a completely mess. Also the fact that a lot of the scene is silent is very "Hitchcockian" to me. Even though there are Hitchcock touches I wouldn't really say this is a typically Hitchcock opening, here we have a genre that is different from what we usually connect with him, besides the often used openings in a public place with a lot of people is not applied here, by the contrary, the opening is focused just on the couple. And the casting for me really worked, I like their chemistry and Lombard was a really fine actress.
  7. We can see from the beginning that Uncle Charlie is a troubled figure, here we have two men going after him and he seems to already expect that somehow. We also can feel the peculiar freshness of film noir, the (lack of) lighting and the sense of imminent doom and the pessimistic air, it's all there. And the soundtrack here really helps to build the mood of suspense, especially when the two guys start following uncle Charlie, how beautifuly the music seems to recreate their steps towards the target, that's really efficient, a marvellous work.
  8. This is clearly an opening of a Hollywood film, and its mood contrast greatly with Hitchcock's former openings where we used to see a lot of movement and crowd and action, here we have a lonely kind of opening, nostalgic and even melancholic. The main thing I see as a Hitchcock touch in this scene is the POV camera when Laurence Olivier's character is contemplating suicide, also we can see again the Expressionist lighting having an influence here. And in the first minutes of screening we can already tell that the house has an importance in the story by the way it is introduced to us, how the camera runs all the path until it arrives to the house, creating a kind of expectation, and when we finally see the house the camera stays there for some time, plus the dreamy kind of voiceover warns the viewer that something important happened there.
  9. The Lady Vanishes is one of my favourite films of Hitchcock, literally everything works here, the rhythm is perfect, the way he conducts the suspense throughout the movie is maestral, you really sympathize with its characters and the whole plot, and above all, it is really fun to watch, every single scene is amazing. From the beggining we can already easily feel the light-hearted atmosphere of the film, due to the soundtrack and the fun charaters and lines, and the situation itself is amusing. The secondary characters that gain most attention, not just in this scene but during the whole movie, is definetely Caldicott and Charles. They are funny and the homosexual undertones in this picture is very strong, which is so interesting since this is a movie from the 30s. Interesting also is the way Hitchcock gives the focus to the lead female character, the way the camera along with Boris follows her, leaving the other characters completely behind to the point they feel unimportant, until she's positioned on the top of the stairs, while the others remain below her. Also while her requests are promptly attended, the other can't even get a room or someting to eat, as seen later.
  10. Hitchcock clearly loves to open his films in the middle of a crowd, a public place with a lot of people, and consequently a lot of reactions to be registered to help create the desired mood (in this case the mood appers to be very relaxed). I think the difference lies exactly on the focus given to the main character, he doesn't seem suspicious and besides he doesn't recieve the majority of the focus in the scene, he appears more to be a coadjuvant since the main focus seems to be the audience and the performer on stage. And I just have to say, I love this movie and I love that the question "How old is Mae West?" keeps coming over and over again later in this scene, that's top humor for me right there.
  11. Hitchcock always seems to care more about the characters in the film than the plot, and carefully leads the audience to the same path. Peter Lorre's characters in the beggining of the film looks like a nice guy, almost too nice, actually. Here we have to give credits to the actor and his amazing talent and capacity to play villans, even without being explicit the viewer can sense some off-putting kind of mood. I think the similarity with his silent works here lies on the fact that the beginning scene it's pratically all action and no dialogue, he builds the tension mostly with the images and focuses on the crowd's reaction. We can see the main difference later, when the dialogues begin to take more importance in the picture.
  12. In this film we are able to see for the first time how creative and willing to experiment Hitchcock is, not only with images, but with the sound too. He again uses the POV but this time through the sound and passes the character's anguish to the viewer making us enter in her mind and feel the anxiety caused by the word "knife" due the way the word is repeatedly stressed, causing her to even throw the object. Though very creative and innovative at that time, I have my doubts if this technique of experimentation with the sound would cause a very positive impression in the audience nowadays, it would maybe give a sense of unnaturality since the audicence is far more used to sound pictures, and perhaps it seems to be preferable now to focus on the images to cause a sense of subjectivity rather than the sound.
  13. The POV shot is one of my favorite techniques in the Hitchcock style, I think is efficient, highly functional and always interesting to see something literally through the eyes of a character, you can feel more easely their afflictions and emotions, it causes a kind of empathy in the public (which sometimes can even also cause some disconfort if the character is up to no good, for instance), it makes the viewer somehow more intimate with that character and in extension with the film itself. (and I have to say, when I was watching Downhill I thought the female character was accusing him of theft?)
  14. In this film Hitchcock makes use of another of his favorite subjects to build a suspense: the paranoia. In this scene especially he's able to portray the character's feelings, isolation and intense jealousy in such a way that the viewer can easily feel his torment, in the middle of a party where everyone is having fun he's dominated by the fear of losing his wife. The way the tormented imagination of the character is shown in this scene made me even sense some degree of surrealism.
  15. I watched The Lodger yesterday and it's a great picture, heavily influenced by the German Expressionism. The greater similarity I see between this scene and the former is the interest Hitchcock seems to have in the public's reaction: the men watching the girls dancing in The Pleasure Garden and the reaction of the public towards the recent murder in this one, but the difference lies on the nature of the situations and reactions, one is much lighter while the other is a lot darker. The interesting thing in this film is that no murder is actually shown, Hitchcock clearly prefer to focus on the despair of the public instead. And the woman screaming is a big exponent of Hitchcock's style, he shows panic like no one else due mostly to his clever choice for close up, and of course the most famous cinematic female scream comes to mind: Janet Leighs in Psycho.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy
×
×
  • Create New...