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Everything posted by luismminski

  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 g
  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 o
  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 di
  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
  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
  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
  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 betw
  16. If one identifies Hitchcock with the well known image (which he promoted) of "Master of suspense", certainly hard to think Mr & Mrs Smith as a Hitchcock film. But if we take it as a great filmmaker who always cared about experience and make maximum use of the Visual and sound resources for their films, always - or almost always - included scenes of humour in his films, and that also he always sought to have stars as protagonists, we can better understand this film as one more in a continuity. The approach of the Chamber the sleeping face and the eye of Carole Lombard, the route that makes
  17. The first thing we see of Uncle Charly is his coldness, almost like a statue on the bed... The money does not seem to be interested as we see him in a close-up of the Bills on the floor. Knows that seek him and why, accept this as something logical, although it loses a little chill when the woman goes, that determines its future action, shows determination and accepts the challenge, passing next to the two agents. His character is also marked by the shadow that darkens his face when the woman runs the curtain. A difference with The Killers is that Burt Lancaster's character also knew they we
  18. This opening scene is great!!. Images between shadows and mists, camera that moves down the road, accompanying the story off, tells of a ghostly atmosphere, a nightmare. The image of the House in ruins corresponds to this feeling. Finally the two protagonists meeting occurs in a dramatic instance. When a common film refers to the French Riviera paradise images, but here, the director shows us a stormy sea by tapping on rocks, in an atmosphere of continuing storm as outlined from the start. I think that this may be part of the "Hitchcock touch". Compared with other early, those a public, comm
  19. At the beginning of this excellent film, joyful music accompanies as background music scene in the lobby of the hotel, as in a silent film we see the Concierge, the emergence and Miss Froy output, two Englishmen, and the set of guests waiting. This calm and idyllic scene is upsets with the arrival of skiers, here sound mark the beginning of the chaos, and the announcement of the delay of the train. Again we see how, without dialogues, pictures and sound give us account of the situation. The arrival of Iris is shocking, especially because the camera records the change in attitude of the Concie
  20. I agree with everything said by Gene Phillips, Dr. Rich Edwards and Dr. Wes Gehring. The 39 Steps is one of my favorite movies, which summarizes all the hitchconians elements, and has high doses of humor. The beginning of the film may seem to The Lodger by luminous poster, and to The pleasure garden by its setting in a music hall. But in The 39 Steps immediately see a normal scene of a music hall. The public participating with questions or interrupting with taunts at Mr Memory. They are ordinary people. This is also a difference with viewers of The pleasure Garden. And the character of Donna
  21. If compared with The Lodger and The pleasure Garden, the beginning of this film, seems a more realistic scene, without subjectivity, or Visual effects that call attention. Looks like a normal situation between friendly people, and thus seems to show the character of Lorre. The only element that could indicate something different is the brief change of expression of Lorre to see the skier.
  22. As a good filmmaker, Hitchcock experimented constantly and used all possible resources to achieve the greatest effect in his films. In this case, the use of sound, even at the initial stage, allowed him to delve into the drama of the scene. The voice of women as background is no coincidence, there, the mind of the protagonist takes the word knife, whose repetition, in crescendo, coincides with the camera that focuses the knife that she has in her hand, until the moment in which the word is transformed into a cry and she, in nervous shock, pulls the knife, creating a climax , with high impact
  23. The use of the POV emphasises the subjectivity of the story. The camera displays what the character sees. And beyond its experimental use, and its technical aspects, allows to better interpret the actions, thoughts or feelings of the characters. With regard to the relationship with the other films, I can highlight the story of the woman with images overprinted that accompany it. Another similarity I find is the force of the images. The lack of ambient sound, strengthens the visual element. For example, the scene where the two companions are left alone in the center of the scene, still, and wat
  24. This scene of The Ring is magnificent. The contrast between the happy situation of dance (seen through a mirror) - and remember that, from Expressionism onwards, and then also in the film noir, that what we see in the mirror is not reality but a vision that can be subjective or distorted it - and the gloomy thoughts of the character accentuated the tension and added the theme of jealousy to the rivalry between the two boxers. The incidental music also reflects this. Finally, and by overlapping scenes mounting, the nightmare trumps reality. Distorted, rotating, disk images musical instruments c
  25. Comparing the two view scenes, we can mention some data. In both films there are allusions to blond women and music hall. Both moves of shots with close-ups to emphasize a scene, item or situation. A technique that will later be repeated in many films of Hitchcock. While in The pleasure garden there are intertitles, for the brief conversation, and presentation of characters, this does not happen in The lodger, the images speak for themselves, and the protagonists are crime, the news of the crime, the impact of the crime on people (who acts collectively) and the possible appearance of the cri
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