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SallyRenne

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About SallyRenne

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  • Birthday 11/24/1950

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    Bloomington, Indiana

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  1. By this time in his career, Hitchcock could access the most glamorous and sophisticated movie stars. Audiences knew these actors. Cary Grant epitomized suave and debonair, clever and amusing. Eva Marie Saint was known through television and for her Best Supporting Actress award for On the Waterfront. She was a Broadway actor and she was smart and beautiful. I don’t remember when I first saw North by Northwest on the big screen. Maybe at IU when James Naremore and Harry Geduld were Comparative Lit professors; where I attended the film portion of their classes. I sat in a hard, wooden
  2. Thank you for this information. I was so trying to make the negative and the magazine cover look like Lisa Carol Fremont! Kissing scenes? Roger Thornhill and Eve Kendall. "It's such a nice face, too." http://tinyurl.com/ybrqq8ja
  3. The camera pulls the black and white face that fills half the screen to center; focus on the mouth; pan to eyes, and hold on anxious glances to screen left then right; extreme close-up of her eye. Red wash of color, then a sudden discordant low brass blast as her eye widens alarmingly while the title moves out and up. From her pupil, the spirals begin. The ten-second sequence from the red wash to the first magenta spiral pushed me back in my seat. We are given no comfort by a screen divided into thirds. The spirals move unrelentingly from center; they loom and push, the music climaxing
  4. Behind the opening credits accompanied by Franz Waxman’s driving jazz, three sets of window blinds rise, theatre fashion, to reveal urban apartments and their inhabitants. Hitchcock’s Robert Burk is filming from my point of view, audience center. He takes me through the fourth wall to numerous vignettes that act as teasers for the films within the film. 1. Cat, easy up 2. Pan, counterclockwise to father, mother, daughter on balcony; sleeper w/arm hanging through the balcony rails; blonde at bathroom window; milkman, heading back to delivery truck; past towel-covered birdca
  5. 1. Under the opening credits the vehicular traffic crosses the space of the archway. 2. Bruno exits a black and white Diamond cab wearing flashy black and white wing tips and pin-striped trousers; he crosses from screen right to left. 3. Guy exits a black and white Diamond cab wearing sensible brown wing tips and wool slacks; he crosses from screen left to right. 4. Bruno crosses the diamond-patterned station floor from right to down left, a hard down. 5. Guy crosses the diamond-patterned station floor from left to down right, an easy down. 6. Numerous
  6. Notorious (1946), open scene with establishing low-key lighting shot of an opulent bedroom. Dissolve to soft focus close-up of light-filled glass of juice in the forefront of a disheveled Alicia Huberman’s face smashed in a pillow, light reflecting off her curls. Cut to Dutch angle shot with set lines and shadows centering a dark-suited Devlin in the doorway. Camera pivots to cant Devlin’s horizon as he crosses to Alicia’s bed. Cut to extreme close-up of Alicia, back to Devlin, dizzyingly tilted. Touch of humor when Alicia discovers she’s sharing a bed with her detached chignon postiche.
  7. Typically, Hitchcock provides his audiences with information about the story that is about to unfold. From the opening credits we learn that this is the residence of David Smith. Hitchcock gives us an opening shot that tracks through the elegant detritus of breakfast, lunch, and dinner bone china, cut glass, and .925 sterling silver inhabiting the floor space in the bedroom. From the hand playing a card on the solitaire game, the camera tracks to Robert Montgomery’s whisker-stubbled chin and tousled hair. Then, directed as much by Montgomery’s glance, the tracking continues to the bed wit
  8. The Killers’ director, Robert Siodmak (a German émigré director), was a product of UFA and German Expressionism’s chiaroscuro lighting, extreme camera angles, emphasis on the psychology of characters, and fatalism. Siodmak brings these characteristics to the opening scene of his 1946 noir film, The Killers, closely based on a Hemingway short story of the same name. As the door slams on the killers’ exit from a Hopper-like diner, Miklós Rózsa’s score begins. The dark driving low brass and discordant strings accompany Nick Adams as he leaps a succession of iconic white picket fences on his ra
  9. The very beginning of the opening scene of Rebecca lacks the frenetic quality of his British period films. The slow, controlled tracking shot with Joan Fontaine’s hypnotic voiceover introduces us to a ruined Manderley. The shot, her voice, and the musical score, imbue sadness and mystery. Furthermore, the scene anthropomorphizes Manderley. In typical Hitchcockian fashion, the opening scene guides our emotions. Segue from the dream sequence to the camera’s panning across waves crashing on a rocky shore; up to a figure poised on the precipice, dwarfed by the scale of the cliff; close up o
  10. Silence, except for the light-hearted musical score featuring a flute, as Miss Froy, all eyes on her, crosses to pick up her key from Boris the concierge. She completes her wind-blown exit with the assistance of Caldicott and Charters. A beat later the flute music stops as the camera follows two blustering Germans blowing in from the same door, crossing right. Then it’s a quick cut to an exasperated Boris on the phone, cut to the cuckoo clock trumpeting the time, back to Boris, cuckoo clock still trumpeting. It’s a cacophony of sound that envelops us, creating a mood of fun and madcap mayh
  11. The opening of The 39 Steps (1935) incorporates familiar Hitchcockian tropes: a public place, an audience or crowd, movement, scrolling text. The influence of German expressionism is evident in the contrast between light and dark, shadows, and acute angles. What differs is the tone, accomplished by sound -- laughter, light-hearted ribaldry, a crying baby, a heckling crowd, and Mr. Memory’s musical theme. The anxiety that the opening sequence of The 39 Steps instills is lifted when we see Richard Hannay’s ingenuous face. He is a normal guy, enjoying the crowd and the show. And, it is a
  12. 1) Character or plot? Plot is the sequence of events that make up a story. Plot is going to be more important than character in The Man Who Knew Too Much (1934); that is a Hitchcock signature. 2) Abbott/Lorre, what do we learn? LAWRENCE: You all right, sir? ABBOTT: I don’t know, my English is not good enough for me to know! LAWRENCE: That daughter of mine’s knocking ’em cold before her time! ABBOTT: Knocking them cold? What does it mean? LAWRENCE: Just an expression. After being knocked down with the rest of the immediate
  13. The characters in the scene hear the jangle of the bell over the shop door; they engage in conversations that a murder generates; they exchange pleasantries and gossip. However, Alice’s reality is far different, and the audience is privy to her world through her reactions to the way she perceives what we hear. Hitchcock then gives us what she hears. Alice is destroyed, and the judgmental, strident-voiced busy body will not shut up. Alice reacts to that onslaught by escaping briefly into the silence of the phone booth while looking for Frank’s number. The police listing offers no solace;
  14. In Downfall, the constant, fluid movement of the tracking shot captures the boys; it holds them in the frame; there is no escape. Using this technique, Hitchcock builds the tension and anxiety that the audience experiences on behalf of the boys. As Mabel moves toward the boys, only her face framed, we see the lie in her eyes as they move from one boy to fix on the other, the innocent one. By controlling the sets, Hitchcock controls the scenes. In The Pleasure Garden, the girls spiral down the staircase. In The Lodger, the tea stand curbs the crowd. In Downhill, the girl is confined to
  15. Flapping flag-sized handkerchiefs, a spinning phonograph record, frenetic dancers whose upraised arms morph into an anthropomorphic keyboard accompanied by discordant piano music move the scene in a jarring fashion. Hitchcock’s montage in this scene from The Ring is disturbingly alive. Hitchcock uses doorframes and mirrors to control the audience’s and the young boxer’s points of view of the wife’s behavior. A further example of this subjectivity is the carousel movement that brings the wife and the gentleman, on whose armchair she perches, into the same plane as the promoter and the traine
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