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About Shannon.H

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  1. What was the first Judy Garland film you recall watching? What was your first impression of her? The first film i remember is the wizard of oz. At the time when i was little, i thought she was just so sweet and pretty. How do you view her differently after viewing these clips than you might have viewed her previously? Now i am amazed by her natural and pure voice and just likableness. What films in her later career come to mind as examples of her increasing ability to capture an audience’s imagination as a storyteller when she sings a lyric? I remember feeling sad when she sang have yourself a merry little Christmas. I also feel that when she sings its just so pure and natural that whatever you are seeing along with her singing you can't help but feel it.
  2. 1. Do you agree that the clip exhibits a brighter perspective of life than might be realistic? Why or why not? Its show a life that is not the normal but we can dream about and think that this must be what a theater stars life is. 2. What themes or approaches might you anticipate from this clip in other Depression era musicals? I would guess that everyone wants to forget and likes to see romance an singing and dancing, nothing too tough on screen. 3. Since this is a musical that was made after the motion picture code was enforced, how might you imagine it might have been filmed or scripted differently if it had been pre-code? Give specific examples. I am guessing that the code had lots to do with what you could and couldn't show, clothing and language.
  3. What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier)? Based on this scene, what are some of the things you notice about the scene’s use of sound? Describe a specific sound or line of dialogue you hear and what you think it adds to the scene’s effectiveness. What themes or approaches might you anticipate from this clip in other Depression-era musicals? 1. I cant say that i notice too much of the Lu**** touch. I am guessing that the fake gun and the lady might be Lu**** touches?. 2. I found myself almost thinking that this scene play well without dialogue and could have been silent, as i did not understand the french dialog. 3. The fancy rich life, that takes you away from anything real. Fancy home, clothes and no real problems other than being rich and i;m guessing a womazier?.
  4. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. If you have seen either or both of these actors in other films or television shows, please share your perceptions about them. What do these clips tell you about the male/female relationships as they are depicted in the films during this era? What norms might you expect are supported under the Hollywood Film Code? 1. In the first scene there is a little light flirting between the two. He sings to her and she sort of holds her own and shows that she is not going to be won over by a song. She displays conform in herself and strength. In the second clip, she is totally out of her element and we see that she isn't so strong among all of these people, she tries to fit in, but realizes she cant. 2. I have only seen Jeanette MacDonald in the film San Francisco before. I really have no perceptions about them, other than always hearing about them together and that they sang. 3. The second clip short of showed both styles pre code and post code.
  5. 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. There are just a few similarities the discovery of a body and the reaction. The obvious difference is that with Frenzy the opening is very large and grand leading up to the body, The lodger deals quickly showing the body and the main focus is on the reactions. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. The beautiful opening taking us into London, all most like we are the tourists, then we see a body and we know that more is to come. He also uses the reactions and discovery like in most films putting us in the view. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career. I almost feel in these films that they are meant to show us a place or city and take us deep into it and show us what really is inside.
  6. 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. We see that Marie is running away from something maybe by changing her hair colour. We learn that she has multiple social security numbers and we see money most likely stolen! Also we see two suitcases - one messy and colourful the other perfect and plain. How does Hitchcock use Bernard Herrmann's score in this scene? ​​The score speeds use along and almost guides us to key points - money, social security cards, the key. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means? It was in the opening scene and I find with most of his cameos he doesn't look directly at us, here is does.
  7. 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? Its a cute flirty scene and we are in on it. Only the very beginning when crossing the street and seeing the birds is referenced. The rest of the opening does feel like the beginning of a romantic comedy. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? I did noticed the friendly little chirps in the store scene. Those made it feel more light and romantic. The opening scene contains a famous Hitchcock cameo. Describe the cameo and if you think it has any particular meaning in relation to this scene. Its funny seeing him with the two dogs. It seems at only the one dog, stops for a minute and looks at the camera. I didn't notice anything of particular meaning with this cameo.
  8. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? The graphics show lots of straight lines, telling us that things can't always on the straight and narrow. The score is fast and at times dramatic. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What is Hitchcock seeking to establish with such specificity? Also, why do you think Hitchcock elects to enter the hotel room through the semi-closed blinds from the outside? Does this shot remind of any other Daily Doses we have watched? With the showing of the date and time, its telling is that maybe something is about to happen that is time sensitive. In the remainder of this sequence, we are introduced to Marion Crane (Janet Leigh) and Sam Loomis (John Gavin). The scene pushed the boundaries of censorship, especially considering our last Daily Dose for North by Northwest was edited for a line of risqué dialogue. Since this is the opening scene of Psycho, how does the hotel room scene function as a way to establish Marion Crane as a main character? Defend your answer. She is pretty and blonde and looks like a woman desperately in love but frustrated that this isn't the perfect relationship.
  9. 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. Well Cary Grant is always Cary Grant he is a wonderful actor who can do drama, comedy, suspense but he is just the symbol of the perfect charming man. I find that Eva Marie Saint is very strong and likeable. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In that sense, discuss how Hitchcock uses the R.O.T. matchbook as an important piece of acting business (or as a prop) in this scene. It could be just a fun play that it means nothing or maybe we find out what it really means latter? How is Hitchcock using sound design in this scene? Consider music and other background sounds in your answer I honestly didn't really notice the sound too much and maybe that was to make sure that the focus was on dialogue.
  10. 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. To me it is communicating with the music a much darker tone for the film and the eye images almost seem to evoke that someone sees of views something frightening. In your own estimation, what is the single most powerful image in this title sequence? Defend your answer. ​​I would defiantly say the eye close up. The music and spirals making a hallucinogenic effect, but the eye I find most powerful an image. How do Saul Bass’ images and Bernard Herrmann’s score work together? How different would this sequence be with a different musical score? They honestly fit like a glove. I don't know how they worked on it, but the titles and music really work together. I love that Bernard Herrmann's scores are very distinct, I think they set the tone for the films in a cool way.
  11. 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? ​The opening shot is really getting us ready to see what's to come, its sweeping and in depth with lots of details. What happens when someone used to taking photos of people and of events for a living. The vantage point is us the viewer. What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock gives us Jeff’s backstory simply through visual design? We learn he is a photographer with a broken leg. Does this opening scene make you feel like a voyeur or, at a minimum, remind you of being a an immobile spectator? What feelings does Hitchcock elicit from you as his camera peers into these other people’s apartments? I feel the opening sets us the viewer up to being a voyeur. I see the realistic lives that we often like to view to ease or curiosity. Bonus question: if you have seen the entire film before, do you agree with Hitchcock that this film is his most cinematic? Yes I do. Hitchcock really can do totally different types. Story driven, suspense, intimate, but this one is in big, vibrant and in colour!
  12. 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. The shot of the train crossing the tracks, the shots of both walking on the train until there feet touch. 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. ​We see the different shoes Bruno very stylish, Guy very everyman. The same with the clothing Guy's clothing is dark and simple and Bruno has fancy pants. I noticed the dialogue especially when Bruno talks he is very persuasive and energetic in his voice, Guy is very monotone and relaxed. While the visual design gets the most attention typically, how does the Dimitri Tiomkin score function as part of the mood and atmosphere of this opening sequence? ​It sets an energetic and mysterious mood .
  13. What Hitchcock "touches" do you see in this early scene from the movie? ​The amazing shot of Cary Grant walking towards Ingrid Bergman. It is so great and very distinct and a great Hitchcock touch!. The other is the slow set up in the early scene of giving us a hint of what could happen. 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 cinematography? ​When watching this film I really did notice the use of close ups. I felt it really helped draw me in to the love that both characters had, it showed passion. The entire look and feel felt grant when it needed to, sinister and chilling when it needed to. The costumes were also simple but beautiful. Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? I have to say after re-watching I really think this is a great film. It wasn't on my radar before as a top Hitchcock film but this re-watching made me appreciate it so much more. The cast was just perfect!!! I have to say Cary Grant fits in so well in this and any film for that matter, Ingrid Bergman is believable in all that her character goes through in this film. Claude Rains is great going from someone so in love, showing his feelings of betrayal, and defeat in the end. These are strong actors with well know personas but I just saw there characters in this film! They don't make them like this anymore!
  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 in the opening that there must be something that these men know are suspect and that Uncle Charlie has done something. Clues the money, the fact that when he sees them he says to himself "you've got nothing on me". ​ In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from the opening of a noir film like Siodmak's The Killers? (Note: If you haven't seen The Killers, it is fine to answer this question in general terms about your own personal expectations) ​It does have a film noir feel that is slowly shows us that something bad or sinister must have happened. As we move into Hitchcock's Hollywood years, his scores will take on more importance than they did during the British years. Music will play a big role in Shadow of a Doubt. The film's score is by Dimitri Tiomkin, the first of four film scores that the composer will create for Hitchcock. What effect does the Tiomkin score have on the mood, atmosphere, and even the pace of this opening scene? ​​It created a relaxing mood that slowly built up to the quick walk away from the two men.
  15. 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? ​​We see love and humour. Lots happening to set up the scene to introduce us to the couple. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? I would say this is typical opening in that it introduces us to and sets up a little of what the story is, so in that way it is. But this film certainly doesn't feel like your typical Hitchcock film. What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not? ​I loved them both! I thought they fit extremely well together and were very believeable as a couple.
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