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  1. Crime Without Passion (1934) Dir. Ben Hecht & Charles MacArthur Lee Gentry is a highly successful, albeit unscrupulous, defense attorney who takes pride in his cleverness. We quickly learn that he is romantically involved with two women and wishes to end it with one and remain faithful to the other. His first attempt to break up with Carmen Brown fails. His second attempt ends in tragedy and now he must cover his tracks. Immediately after the opening credits, the following intertitle is flashed on the screen: Beyond man’s dreams lurk the Furies-the three sisters of evil who lie in wa
  2. Jack Reacher (2012) dir. Christopher McQuarrie Tom Cruise plays Jack Reacher, the title character in this film adaptation of British author Lee Child’s novel One Shot. Since the film mostly follows Jack, I thought it was best to let the author describe in his own words, his “iconic hero”: “He’s two things in one. On the surface, he is an ex-military cop who is suddenly dumped out into the civilian world. He doesn’t fit in, and he spends his time wandering America, seeing the things that he’s never had time to see before. He’s trying to stay out of trouble, but masterfully once a year get
  3. A film I thought of immediately is Frantic. Frantic (1988) is a suspenseful thriller directed by Roman Polanski and starring Harrison Ford. Soon after arriving in Paris, a married couple checks into a hotel. Concluding that they must have picked up the wrong luggage, the husband takes a shower and soon discovers that his wife has disappeared from the room and hotel. This film is about his search for his missing wife with little help from the authorities and involves murder, spying, and blackmail. Very Hitchcockian. PERSONAL NOTE It has been a great course and I‘ve learned plenty. I r
  4. Body Heat (1981) Dir. Lawrence Kasdan At its core, Body Heat resembles Double Indemnity (1944) and The Postman Always Rings Twice (1946); each begins with an illicit affair involving a married woman, followed by a plot to do away with the husband, and finally, unforeseen complications shake things up. In our film, the couple having the affair are lawyer Ned Racine (William Hurt) and Matty Tyler Walker (Kathleen Turner) who is married to Edmund Walker (Richard Crenna). 1. Chiaroscuro for black and white films, intense or muted color in movies filmed in color (In either black and w
  5. Thanks for the heads-up. I will keep an eye out for Mr. McGraw when I watch The Birds this weekend. You know, he died as a result of an accident involving a glass shower door. How eerie to learn that he played a role in a film best known for its shower death scene.
  6. Marianne, I notice several titles highlighted in purple, was this your doing? If so, what does it mean. ? Or, were these titles contributed by other members and are just carried through in their original colors sent by them? Just curious.
  7. When taken with the time stamp (In the beginning...), Marion's behavior (adulteress, "bad girl") fits well with the story of Eve and the Apple. Could this have been in Hitchcock's mind when he considered the shooting and telling of the story? Was he making a statement on the consequences of our choices- that sometimes, the end doesn't necessarily justify the means. Just a thought.
  8. In response to: [Also, did anyone else notice that the camera shifted to close-ups as soon as Thornhill was told he was seated there on purpose? I think it was because it introduced a level of intimacy to the two characters.] I went back to the clip, and I see what you mean. Your explanation is reasonable and could very well be. I also picked up this oddity- why was Roger Thornhill allowed to say, "... I have no desire to make love to her." Yet, Eve Kendall was prohibited from saying, "I never make love on an empty stomach." The Curator's Notes explains Eve's quotes but never explains Roger'
  9. As always, I enjoy readying the posts and when I reach this point, it seems that everyone has pretty much said what I would have, and so much more. That in mind, I'll share an observation. When I listen to the opening narration to Rebecca and its reference to Manderley, it reminds of the opening sentences of a short story by Edgar Allan Poe: Rebecca Last night, I dreamt I went to Manderley again. It seemed to me I stood by the Iron gate leading to the drive, and for a while I could not enter for the way it was barred to me. Then, like all dreamers, I was possessed of a sudden with sup
  10. [I did not recall seeing a prevalent point of view shot or a shot between objects, as he so often does, unless you count the opening letters that scroll by. . . .] from Auburnrebecca, 05 JUL 2017 Marianne, I went back to the beginning of the clip and must say, I see your point. It is certainly within the realm of possibility that the scroll is in actuality, a pan depicting Hannay's point of view as "he is walking to the ticket booth.". Good catch.
  11. I saw it as well on YouTube and was impressed with how well the film looked. Well preserved. I enjoyed it and recommend it.
  12. I believe you got it right- it is part of Mr. Hitchcock's appeal. He worked hard to give audiences the perfect visuals as he saw them in his mind. I was also impressed with his command on answering the questions. Hearing him speak, he oozed of confidence.
  13. I agree with your comments in # 3. As to your additional thoughts concerning the blue tint, I played the clip along side the full film on YouTube (The Lodger (1927) Alfred Hitchcock, 1080p) https://www.youtube.com/watch?v=2qFiw5VtmyI The blue tint in the clip does not appear in the YouTube film. Also, the clip runs 4 minutes 16 seconds and ends. In the film, the same clip lasts 6 minutes and 37 seconds. The clip, I believe is sped up. Now like you, I’m wondering, which edited version was his intention?
  14. ELigner- Every participant is helping by sharing ideas and thoughts. We all are learning from each other. Keep at it- you're doing fine. Thank you for participating. It gets easier.
  15. My favorite part of these courses (my third) are the Daily Doses, where I continue to learn from so many members sharing their thoughts and ideas. There is not much to add- everyone has covered the discussion starters fully, I believe. There are many mentions of point-of-view shot and to that, I would just add that I immediately thought of the scene in Alfred Hitchcock's Spellbound (1945) and his great use of this technique in the scene near the end when we see the action from directly behind the gun. Definitely, a Hitchcock touch. Good to be back and see familiar names.
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