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


  • Content Count

  • Joined

  • Last visited

Everything posted by brooke.fenton

  1. I think Hitch's new Edith Head would be Catherine Martin. Her costumes are incredibly vivid, telling and rich. I definitely think he would collaborate with Hans Zimmer for musical scoring. Zimmer's themes are iconic and thematic, very similar to the way Bernard Herrmann would have composed. While this would be incredibly outlandish, I love the idea of a Hitchcock/Coen Brothers collaboration. Can you imagine that film?
  2. Some films that I feel have the slightest traces of the "Hitchcock touch" or have been inspired by Hitchcock are: "Double Indemnity", "Repeat Performance" and "High Anxiety."
  3. 1. 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. "The Lodger" was definitely more action-packed from the beginning. The murder had already taken place. Here in "Frenzy", Hitchcock sets up the scene and then we find that a murder has occurred. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. The camera work definitely has the Hitchcock touch. There is a long tracking shot at the beginning as well as quick cuts back and forth from the man giving
  4. 1. 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. She's obviously a mysterious character. She has multiple IDs and other items that seem to be saved for a specific identity. 2. How does Hitchcock use Bernard Herrmann's score in this scene? It crescendos when we finally see her and is mysterious while we aren't able to see her. 3. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that v
  5. 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) in this scene? The opening is definitely misleading that this will be a horror film. It's a nice, light opening. The only slightly ominous thing are the swarm of birds flying overhead, but nothing else would lead the audience to believe that anything is wrong. The scenery is bright. Melanie wears a light colored dress. People talk on the streets, boys play as they pass her. We learn that Melanie is somewh
  6. 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 opening sequence of "Psycho" is very indicative of themes of the film. The music is startling and unsettling. The breaks in the title show that things appear to be solid and smooth on the surface, but the more you dive into the film and characters, you can see something is broken and demented. 2. As the titles end, we have three shots
  7. 1. 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. We know Cary Grant is the suave, debonair playboy type. We know he will be witty and clever and charming. The same cannot be said for Eva Marie Saint. She's a little mysterious and not much is known about her. 2. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two l
  8. 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. In one word: haunting. The camera is uncomfortably close on a woman's face, making sure we see every detail and flaw. The various colors, shapes and music are unsettling and chaotic. All of the elements set the tone of the film for the audience. In your own estimati
  9. 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? I think that we are meant to be just as involved as Jeff is, so while his back is turned to the window as he sleeps, we are being introduced to the setting and characters. I think that by Hitchcock giving the first few moments of the film to let the audience familiarize themselves with everything -- without any particular action or dialogue -- we as the audien
  10. 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. There are many ways in which the idea of "criss cross" are used. Examples include the cars and people crossing the street/intersections, the train tracks, when Bruno and Guy's feet are seen together as though they have met on the train as well as various body language (legs and arms c
  11. What Hitchcock "touches" do you see in this early scene from the movie? The elements that stand out most to me are the uses of light and shadows, focus on an object that will later become an important part of the plot (the glass), the silhouette of Cary Grant in the doorway and the camera angle as he walks from the doorway over above Ingrid Bergman. How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematograp
  12. 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? It is very different in that there isn't any real action going on. There aren't characters. There is a voiceover, but nothing that the narrator tells us matches with the shots on the screen. There isn't any particular attention paid to an object or item (until the end of course). 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? The use of the camera, the dark shado
  13. 1. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? ​There are definitely lots of Hitchcock touches. His focus on particular objects that tell us about the characters and location. He tightens a shot on Carole Lombard and focuses on the cards, messy dishes and decorations in the room. 2. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typi
  14. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. We learn that Uncle Charlie is a cad. He is in trouble for something and as a result, has to flee from the police. We see his demeanor changes after news of the two visitors. He is calm at first and then there is a moment where all of that is shattered as he shatters a glass by forcefully throwing it at the wall in anger. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film n
  15. 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? Many of Hitchcock's film openings have occurred in a public place. However, this opening seemed different to me. Rather than focusing on the action as in previous clips, this opening scene seemed to be more dialogue-focused. 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? Agre
  16. 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) Definitely the characters. 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 is charming, easy going and good-natured. He is set up to be someone we trust so that later in the film, we do not question or suspect him of anything. 3. We saw two opening scenes f
  17. The repetitiveness of the woman saying "knife" while Alice is looking and later handling a knife is one way that we see subjectively what is going on in her mind. The woman's voice seems to drown out and only the word "knife" can be heard. This emphasis shows that this is the forefront of Alice's thoughts. I think this sound technique is not often used because it would be not only distracting to audiences, but very cheesy. It wouldn't deliver the intended effect if not done properly.
  18. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? The effect visually pulls the audience in to assume the emotions and actions of the character. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? The technique also emotionally pulls the audience in and adds to the tension. The way the female walked towards the two men, in a slow, deliberate way, really emphasized the drama and tension I think Htichcock was trying to portray. It's an additional element and laye
  19. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? The opening scenes were similar in that Hitch wasted no time getting right to the action. "The Pleasure Garden" was more of an upbeat introduction while "The Lodger" really displayed the mystery/darkness/crime that makes up the Hitchcock touch. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mi
  20. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. There are definitely many "Hitchcock touches" in this sequence. The POV angles, the blonde, the elements of voyeurism that later manifest themselves in films such as "Rear Window", the comical juxtaposition of Mr. Hamilton smoking like a chimney in front of a 'No Smoking' sign and the way Hitch always seemed to give his audience a glimpse of the way people in the scene responded to the action of their surroundings and made them an active part of a scene (i.e. the reactions of those in t
  21. The opening shots immediately resemble the documentary style and the realism of that type of film. The use of shot after shot of landscape builds tension, as if something is about to happen. There is also a sense of foreboding that reminded me of the use of the clock in "M."
  22. The sense of urgency that is felt as Nick runs to warn "the Swede" of his life being in danger is in stark contrast to the total lack of urgency on "the Swede's" part. The lighting of this scene is brilliant. "The Swede's" head is engulfed in shadows as the rest of his body lays motionlessly in bed. The lack of movement or expression almost makes the viewer think that he is already dead. He's a dead man walking... or in this case, laying.
  23. This scene from "Gilda" really highlights the use of the femme fatale's sexuality as a primary characteristic of these types of women in noir films. The scene is completely charged with palpable sexual tension. While Gilda performs for a large crowd, the words she sings, her movements and intentions are for one person. She completely owns her sexuality, suggesting she is powerful and in control; however, underneath the surface, she is emotionally vulnerable and desperate. Her actions, while incredibly suggestive, are not explicit. The camera only further highlights the suggestive nature of Gil
  24. Q: How does Curtiz arrange these two actresses to heighten the tension of the scene? Pay attention to how they move and how they are framed in the scene, especially the use of close-ups. A: The scene begins with Mildred standing while Veda sits on a couch. This shot establishes what should be the symbolism of this relationship. The physicality of the mother standing above her daughter is symbolic of being above her in age, wisdom, experience and authority. However, the scene quickly shifts as Mildred makes her way behind the couch. Veda is suddenly in the center of the frame, symbolic of ho
  25. I found Fritz Lang's use of the clock in this opening scene is very effective. To me, the clock acts as a character in the opening shot -- it is communicating something to the viewer. The lack of sound emphasizes the tick-tock sound that indicates that something either has or is about to happen -- it's only a matter of time. It's also an indifferent in that regardless of other events, the clock tick-tocks on.
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...