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About luismminski

  • Rank
    Advanced Member
  • Birthday 08/31/1963

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  • Location
    Bariloche, Argentina
  • Interests
    Argentino, Riverplatense, 52 años, profesor de historia. Interesado en el cine clásico, especialmente el film noir, y la literatura policial. Vivo en Bariloche

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  1. In this scene it is important that the sound appears as background; Before the appearance of the protagonists they hear their voices arguing, this makes us enter into climate. I really like this great director's films. Within his "touch" we can mention the drawer full of revolvers, Maurice Chevallier who touches the body after the shot, and his attempt to apologise while holding the league in his hand. They are all elements of humour that give another meaning to what is supposed to be a dramatic or serious scene. One element that will continue to be given is that it is a screwball comedy
  2. I have never seen a complete film with them as protagonists. I have seen a clip with them. In general I do not usually like that kind of movies and romantic-musical scenes, but I must admit that in this scene there is a lot of humor, especially by Jeanette Mac Donald. Anyway, I recognize that the public, in the midst of depression was good to see such films that allowed him to evade reality. And it obviously reflects the ideal of pure and romantic relationship as established by the code.
  3. I think the clip shows a scene that we could describe as naive, and for nothing reflects the reality that was lived at the time. If it were before the code, or if it had been filmed at the same time in Europe, surely the actress would receive the visit of his admirer in his dressing room while changing clothes, and the dialogues would have more picaresque tone.
  4. Hello!!! I'm Luis and I write from Argentina. It is my pleasure to begin this new course. The musical I look at is always Singin' ' in the rain. I like it very much because, in addition to all its musical numbers are brilliant, like the interpretations, it is a clear homage to the beginnings of the cinema. It's cinema inside the cinema. And that share of the optimism of the songs also makes it one of my favorite of all time.
  5. There are two excellent films that always seemed very in the style of Hitchcock: Charade and Wilder ‘ s Witness for the prosecution..
  6. I've recently seen by Netflix the 9 seasons of "How I meet your mother", and it seemed to me that it has been, since the title and plot, a true Mac Guffin... Isn't it?
  7. Frenzy ends the circle begun with The Lodger... In both a killer of women, a false culprit... But in my opinion, the beginning of Frenzy is different to The Lodger. Here, as a tribute to its origins, the protagonist is also the city of London. The corpse is discovered to daylight and in a public place. Irony is the contrast between the speech of the politician on the cleaning of the River, and the corpse in the water. On the other hand, in The Lodger, the reaction of the people meant fear. In Frenzy, people do not seem to show horror but curiosity. Perhaps, this is also a concession of the great director to the new style in the films of the 70's, where the public had already used to seeing corpses. A common element to other early is the camera that goes from general to focus on a particular place. Hitchcock, from the home puts us in the scene of crime, or of the place where the story goes.
  8. The beginning of this film is wonderful. Excellent Herrmann music accompanies the "transformation" of the character, in a manner similar to Vertigo, especially when longer blonde head of Tippi Hedren is seen. As always Hitchcock does not need anything more than music and images to tell us about any person, - different cards of identity (one of which was, curiously Marion)., 'tools', money, different pouches speak of profession of the character. As for the cameo, maybe there is something different from the other cameos, Hitchcock secretly looks to one side and then seems to speak to the other, after the woman... as a prelude to the image of the room. Again we interfere as spectators in the private life of another person.
  9. In this scene we know the protagonists, both in its external appearance and, through their dialogue, in terms of his personality. It is a scene that may be typical of a romantic comedy. "Caged" birds mark the bottom. But, if we see Hitchcock leave the shop, we can presume that not everything that happens there will be innocent or innocuous. On the other hand, the birds in the sky, which called the attention of Melanie, portending things to come. The birds is a great film, shows how the terror - as formerly crime - may appear in everyday life.
  10. The collaboration of Saul Bass and Bernard Hermann portending masterfully what will come, psychosis, double personality, crime. With regard to the timely location in Phoenix and the voyeuristic introduction of the characters, I think contributing to make the best Mac Guffin in Hitchcock's filmography. We began to see a character, we enter in their lives and in their concerns, we identify with the couple and their problems. It is a private scene that we see "hidden". As in Rear Window, we get into the lives of people through the director ´s eye. Obviously, this scene would have been more difficult or impossible to do on the censorship. But times changed, and, in addition, the fact to be made almost like a film of class B, I think, allowed Hitchcock, - on the other hand always sought tension the rope to the maximum - make the scene as he wanted to
  11. Cary Grant acts of Cary Grant, and with Hitchcock, this strengthens, here accompanied by the excellent Eve Marie Saint. The dialogues, looks, gestures speak of a relationship that begins. The central theme of the film does not seem to be interested. A parallel story begins. And the scene of matches reinforces this idea. It seems like that crime and espionage were a second Mac Guffin in the plot. As always, the music has to do with what is shown, an encounter between a man and a woman, not a suspected criminal and a spy.
  12. Coinciding with the affirmed by Spoto, in this presentation is summarized the entire film. Images and sound are leading us to the interior of the mind, the unconscious, traumas and fears that will then appear in the film. And the gateway is the eye,. This is a film where the dialogues are less important than the visual and music. Image and sound give us that hypnotic sense of vertigo, hallucination. Time slows, we are immersed in the story as the protagonist feels it. For me, the most powerful image is the close-up of the eye, as a gateway to the unconscious. The eye, is an element that is also important in other Hitchcock films. Without any doubt, with another type of music, the feeling would have been different. The combination of Bass and Hermann is impressive, generate us the feeling of oppression, of grief, uncertainty and fear that does not abandon us throughout the film, that is, for me, the darkest of those made by Hitchcock.
  13. Rear Window is also one of my favorites, is a magnificent film, is entertaining and visually perfect. It shows us a microcosm reflecting life itself in its different times. This opening marks a contrast: begins a day of heat, are neighbors beginning their daily routine. The music accompanies this tour of homes, from the window of Jeff. Then, another decision shows us Jeff sleeping, oblivious to this everyday. As if it was someone strange, which is outside. Then we learned of their status and their profession, all with images, and a consistent musical background. We don't need anything else to know who is who and what is its role. We are spectators that we are watching a film where the protagonist- and we indirectly - look and we get into the daily life of the people. I agree that is more cinematic film. Everything happens for camera lens and point of view, the masterful construction of that building near real, and also the use of images of what Jeff sees accompanied always by a Flash of her face showing his reaction to what he sees. Finally, although it does not appear in this brief scene, the first appearance of Grace Kelly is like a brief but illuminating shadow left before the face of Jeff. Pure psychology!!!!!
  14. Stranger on a train is one of the masterpieces of Hitchcock. Here are those which in terms of the plot, the suspense, (a game of tennis was never as important as dramatic element), the false guilty, the personality of the characters, (Robert Walker charisma is unrivaled. This was the only film that I saw starring him. Too bad he died so young!) psychological issues such as the issue of the guilt, the relationship mother - child, etc With respect to the initial fragment, the criss cross manifests itself through the steps of the protagonists from the cab and at the station. Here, both go to a same destination, each by his side. The camera showing the pathways that intersect steeply may refer to the destinies cross unpredictably, and finally, the final encounter of the two destinations in a casual clash of feet. All this accompanied by excellent Tiomkin music, cheerful and calm at the station more frantic in the scene of the tract. As one more element to accompany the plot. The two characters contrast from the beginning by his clothes, elegant, fine and face of Bruno, with the lock tie that identifies it. Here we see already, his personality. Guy wears simple clothes, like any other, despite being a famous tennis player, is unnoticed and seems embarrassed by the strong personality of Bruno.
  15. I agree with the opinion that this is one of the best films of Hitchcock. Here we see, again camera moves up to a close-up on the face of Ingrid Bergman behind the glass (in Mr & Mrs Smith, was the eye of Lombard). Also, as shown in the lecture video, the camera movement that revolves to show what are the eyes of the woman., as in Downhill. Cary Grant appears in shadows, a very special camera angle, as showing a kind of threat for the woman in the bed. This way of showing it to Grant, and the first plane of the glass remind me of Suspicion). Thus, the beginning of the relationship between the two protagonists does not seem the best, which will serve to better assess their subsequent romance. As regards the third point, Grant made Grant, his attitude, his position is the usual in his films. On the other hand, this scene shows Bergman in a different way to what by then was publicly for it. With much more character, more real, more human, as we will see - in reality and on the screen after his encounter with Rossellini. I finally also highlight the extraordinary role of Claude Rains, without it, the movie would have been different (and, at the risk of being heretical, I think that the same applies to Casablanca)
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