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Everything posted by JamesRusso

  1. 1.) Another Hitchcock inspired thriller is 1987's "The Bedroom Window". The films is a homage to Rear Window and stars Steve Guttenberg and was directed by Curtis Hanson. 2.) Another Hitchcock remake is 1976's "The Lady Vanishes" starring Elliot Gould. This was the last film produced by Hammer Studios. 3.) Full title of The Birds II is The Birds II: Lands' End and the film was 1994 made for Showtime movies.
  2. 1.) Most definitely I think Brian DePalma would. I think composer Giorgio Moroder and Alan Silvestri. Also, Tangerine Dream. 2.) As for screenwriters, I could see Hitchcock working with David Mamet.
  3. 1.) Another film inspired by Hitchcock is the 1994 suspense thriller (American giallo as well) Color of Night starring Bruce Willis and directed by Richard Rush. 2.) Some of Italian filmmaker Dario Argento's films are inspired by Hitchcock most notably 1975's Deep Red and Do You Like Hitchcock ? 3.) There was a science-fiction retelling of Hitchcock's film, Lifeboat. A 1994 TV movie entitled "Lifepod" was about several people trapped in an escape pod in outer space.
  4. Also inspired by Hitchcock is Halloween directed by John Carpenter The movie "Bats" starring Lou Diamond Phillips was inspired by "The Birds".
  5. 1.) A series of films that were not just inspired by Hitchcock, but were direct continuations of his storyline from "Psycho" were the three "Psycho" sequels: Psycho II Psycho III Psycho IV: The Beginning (This third sequel was a TV movies and was written by Joseph Stefano) 2.) Currently, there is a series on A&E Network called "Bates Motel". There was also a TV movies called The Birds II". I think it was broadcast in the 1990's, but I would have to double check. 3.) No to mention that Anthony Hopkins played Hitchcock in a biopic ab
  6. Casting Sean Connery right after he had done the first James Bond film, Dr. No, as the lead in Marnie was a courageous move on Hitchcock's part. Since we know from analyzing how Hitchcock used stars in his films, do you think Hitchcock was trying play with audience expectations of Sean Connery's on-screen persona in Marnie ? By casting Connery in the role of a man who struggles to help a woman who is suffering emotionally and mentally, he seemed almost to be saying to the audience you thought this was going to be an adventure/romance film like Dr. No where Connery(007) wins the girl's love ri
  7. It almost boggles the mind to think that these three Chaplin scenes were repeated, copied, and imitated by almost every slapstick comedian who followed Chaplin right up to the modern comedians of today. Keaton, Laurel & Hardy, Abbott & Costello, The Three Stooges, The Marx Brothers, all used scenes like these or scenes very similar. The concept of the slapstick comedies protagonist being pursued by the police and the main character making the cops look like fools began right here with the scene of Chaplin rolling through the hole in the fend in "A Dog's Life".. Think of how many comed
  8. I agree with the definitions of what encompasses slapstick comedy as presented by Prof. Edwards. I would like to add to that definition that slapstick comedy frequently presents a poor, lower class character invading the high society life of a wealthy person and causing mayhem and chaos. This poor vs. wealthy concept can be found in silent comedy (Buster Keaton, Chaplin), early talkies and two reelers ( The Three Stooges, Laurel & Hardy) right up to today's modern comedy films such as Caddyshack. Yes, I believe that for a comedy film to be considered purely slapstick it must contain all
  9. I have to agree with some of the views posted here in that the Sister who hosted TCM's "Condemned" series completely missed the point and theme of Blow-Up. I was disappointed by the commentary she provided before and after the movie. I was hoping, as with other forewords and concluding remarks by TCM hosts on learning some trivia concerning the film's production or something about the film's director or stars. Whole books have been published concerning what the imagery in Blow-Up symbolizes and even with all of the films available, Blow-Up is still a staple in many films schools. None of thi
  10. 1.) The swinging light also obscures the violent beating of the scene. We don't really see the gangsters hitting Steve, just the reactions on their faces. 2.) Mann and Diskant's changing points of view draw the viewer close into the action of the scene. First we see Steve's beaten face from the gangter's point of view (lead gangster played by Raymond Burr, I believe). When Burr breaks the bottle and threatens Steve with disfiguring his wife unless he confesses to the cops, we see the broken bottle up close with the sharp glass practically touching the camera lenses. This puts us right
  11. 1.) The swinging lamp containing a solitary light bulb lends tremendous atmosphere to this scene. First we see the gansgters in shadow then the light swings and we see them with a key light.
  12. 1.) The film depicts this unnamed city as appearing almost bombed-out. We see scenes of streets littered with debris. In fact, the city almost resembles scenes of bombed-out European cities in other postwar film noirs such as The Third Man. Huston utilizes this city in decay as the background of a character who may also be in some decline or decay. The title The Asphalt Jungle suggest a hybrid of jungle adventure story (like Tarzan) and a gritty urban thriller. The title suggest that this burnt-out unnamed city is akin to a jungle existing within an urban landscape. 2.) The c
  13. 1.) Miles' Davis' score works with and contributes additional layers of meaning to Malle's visuals in that as the camera pulls back from the main character talking on the phone, we see he is occupying one room in a large apartment or hotel where there appears to be no one else in the other apartments or hotel rooms. The score underscores the isolation of the scene and further complements Malle's visual style. The building shows a sens of symmetry and geometrical repetetiveness; the viewer sees that each room is exactly the same, a complete clone of the room next to it. The character appe
  14. 1.) The film's opening shot of the Salvation Army band shows us the happiness of Christmas time. We associate the Salvation Army with goodness and generosity. This scene establishes a mood of happiness which eventually becomes progressively darker. It tells us, in essence, that drifting just under the happy moods of the holidays, there is death and murder. 2.) Film uses many postwar films noir themes present in 1950's era films noir. The man working as a handyman brings to mind the postwar noir theme of men's disillusionment with their postwar roles. There are also several extreme cl
  15. 1.) There is evidence in this scene from "The Narrow Margin" to support Foster Hirsch's claim that this is a parody of the hard-boiled school. When the two detectives exit the train station, we see they are dressed in what was perceived by film noir audience to be the definitive "detective" wear which is fedora hat, gray or black trenchcoat, suit worn underneath and an ever present cigar or cigarette. The dialogue is atypical films noir dialogue; delivered at a fast clip in between puffs of the cigarette. 2.) Some of the major film noir elements in this scene are the train itself
  16. 1.) The main character is constantly aware of time ---the time it takes for the florist truck to deliver flowers, the time its takes the bank guards to deliver the money. We see later in the see that he has a whole diagram written out where he keeps track of these times every day. Clock are very prominent --his wristwatch, the bank's clock. 2.) One element of film noir style I noticed was the extreme close-up of everyday objects. The close-up of the wristwatch, the note/address book. An element of film noir substance is the character/situation of Kansas City Confidential is k
  17. 1.) When we are actually viewing the boxing match, we are inside the ring with the two fighters and the referee...the sound of the fight is loud and distinct. The cutting is fast-paced. When we are viewing the fight from the viewpoint of a television viewer, the fight is in slow motion and there are no cuts; the sound , now through the the TV sets tinny speakers, is low and unclear. One major statement the scene makes on television over movies is when Ernie's wife shuts the TV off on him while the match is going on ---almost as if Karlson were saying that when you watch TV an outsider
  18. 1.) The scene begins with Sam and Walter talking in an office. The two men are in close proximity to each other and are framed tightly; as the viewer, we see very little of the whole mise-en-scene. When Martha enters the scene, the camera frames her closer and the camera hold on her for much longer than the male characters. Also, she is introduced standing in a doorway so we see her in better perspective to the set. As Sam begins to talk to Barbara and she realizes who he is, Martha is then shown to enter the scene with the two male characters. Just at that point, Walter, Doulgas' cha
  19. 1.) The three Daily Doses which opened with highway scenes (The Hitch Hiker, Kiss Me Deadly, and this scene from Too Late For Tears) are all post war film noir which were filmed at time when the U.S. was at the height of consumerism. After the war. millions of people were purchasing automobiles who never owned cars previously and many of those new found car owners found themselves travelling on America's still young highway system. These films show the fears and paranoia Americans felt travelling these roads and the various people they might meet along those roads and situations they could p
  20. 1.) Unlike Kiss Me Deadly and The Hitch hiker, Hitchcockc rythmn and purposed are different in this opening scene from Strangers on a Train in that we see each of these characters for several scenes sepearately before they meet. The music and the quick cutting rythmn of these scenes seems to emphasize a light-heartedeness to the meeting that will soon change. In Kiss Me Deadly and The Hitchiker the scenes begin with a much more ominous tone. 2.) Noir elements which are present in this scene are the close ups on objects. The close shots of the luggage and of the characters shoes. In t
  21. 1.) In comparing the opening scene of D.O.A. with the other three scenes from this weeks Daily Doses many parallels do emerge. One aspect which runs like a thread through all four scenes is that in keeping with the style and tradition of films nor, is that all four films open very strongly. The unsuspecting viewer instantly and dragged into the action without no hope of looking back, These films waste not even a second of screen time with extraneous storyline In Caged, we immediately driven to a prison and dragged into the prison without hope of escape; in The Hitch hiker the mysterious i
  22. http://www.themave.com/Noir/Noir.html Check out this site. It contains some info re; MGM house films noir.
  23. 1.) Like the last two Daily Doses ( opening from The Hitch Hiker and Kiss Me Deadly) this opening scene stresses constriction and claustrophobia. The scene is fitting for a movie about a women's prison entitled because starting right from the first scene, these women are already "caged" inside the prison van before they even enter the prison building. The design of the scene works to further enhance and support this "imprisoned" feeling. We cannot see any details in the back of the van while it is driving to the prison...essentially our vision is exactly as the same as the women inmate
  24. 1.) One of the major themes introduced in the opening of The Hitchhiker is isolation. The two men who pick up the hitchhiker are completely and utterly isolated in the automobile with the hitchhiker. There is no way for them to escape and no way for them to alert the outside world. One of the ideas that is presented in the opening scene is an idea that adheres closely with scholars analysis of film noir. In just the first few minutes of the film, the two major protagonists make an minor mistake (picking up the hitchhiker) which leads to disastrous results. Like Burt Lancaster in The Kille
  25. 2.) We learn in Kiss Me Deadly that these two characters were on a preordained destination to collide with one another. Both characters appear to be running from someone or something. Once the characters have met, they seem to interlock with one another. Hammer doesn't particularly like Bailey. His training as a private detective tells him something is not right with this scene...a woman running alone at night dressed only in a trenchcoat. His keen instincts tell him he is wrong to give her a lift, but he does it any way. Possibly to see where or to whom the woman leads him. Hammer could
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