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About UFgator89

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  1. I agree that we have to keep in mind that AH was always pushing the envelope. I wonder if he might venture in some directions we haven't seen such as Sci-Fi (think of all the exotic places he could go) and Fantasy (similar to the LOTR and Hobbit trilogies; any chance Peter Jackson is actually the reincarnation of Hitch?)
  2. Just finished viewing Foreign Correspondent. The plane crash scene is amazing! The last part of the movie was interesting in that it turned into a war propaganda film; I got a little teary eyed, as I do. Makes me think a future course might be war-time propaganda films; what do you think? One thing that confused me about the film was how cordial the newspaper men (McCrea and Sanders) were to Fisher: a traitor, kidnapper, and accomplice to murder. I felt no sympathy toward the character at all until he went off the side of that wing.
  3. I agree! There are a few movies that aren't Hitchcock that are often mistaken for Hitchcock. My favorites in this category are Charade (1963), directed by Stanley Donen; Witness for the Prosecution (1957), Billy Wilder. IMDB has a pretty long list of more examples here: http://www.imdb.com/list/ls071418428/, but some of these aren't in the time frame of Hitchcock's career.
  4. Raising Hope, Season 4, Episode 7, "Murder, She Hoped": Primarily an homage to Rear Window when the Chances believe their new back fence neighbor murdered his wife, with a little tribute to the music of North by Northwest, a callback to Carlotta from Vertigo (the reasonable, classy lady with the guns), listen out for The Birds, and just a touch of Psycho at the end. The music, costumes, and chases all crammed into 21 minutes.
  5. The more we've gotten into discussing the different parts that make the whole (music, art, costume, etc.), I continue to think back on the silent films. It was discussed early in the class, especially in the transition from silent to sound, that Hitchcock believed in using sound or music as he would any parts of the scene and shot to create the mise-en-scene. This has made me think more of the music used to accompany the silent films. Did he have any say into what music was played with the silent films? Is the music accompanying the silent films as we see them now, the same music used then. In
  6. I ran across "Shadow of a Doubt" quite by accident when looking through the laserdiscs at the local video store. I had never heard of it before, but, seeing it was a Hitchcock film, I had to get it. Maybe it doesn't get as much attention as "North by Northwest" or "Dial M for Murder" because maybe the names "Joseph Cotten" and "Teresa Wright" aren't as glamorous as "Cary Grant" and "Grace Kelly", but this is an excellent Hitchcock suspense film and well worth watching over and over again.
  7. You make a VERY good point that knowing the movie is a comedy going into it helps us rationalize the violence as comedy and make believe.
  8. I agree with the definitions listed here. But I have to admit I was surprised when I read "violence" as one of those definitions. Apart from the Three Stooges, I hadn't thought of slapstick as so much violent as people having terrible accidents from which they usually came away mostly unscathed. The "make-believe" part really is a big factor in that. As was noted in the last citation, I do frequently cringe at first then smile or google because my brain is eventually reminded that it is make believe. I hadn't really thought of it in those terms before. I think that may be why I've never been a
  9. The clock is a major element in this scene because we, as we soon learn, it's really been the constant companion of Milland's character during his stay here, to the point that he hates it. The interesting thing about the clock that I initially noticed was not so much the clock itself but the shadows. As with the opening of M, the danger is in the shadows. I haven't seen this film so I might be going in the wrong direction, but my impression is that we're being made to fear the shadows and what could be hiding in them.
  10. My first impressions of Lydecker are that he's a collector but of only very fine things. In the way he speaks about Laura, I wonder if he considers her part of a collection. He has very expensive taste and little respect for a common man like a police officer until he finds out there was something special about McPherson, then his demeanor changes completely. It's a very unusual opening as the voice over begins with a dark screen and the pictures we see are of the art objects, then the furniture, and finally a large room filled with expensive taste. If unusual openings are typical in film
  11. I find myself watching Bette Davis carefully in this opening. When the moon comes out from behind the cloud bringing a bright light to the scene, to what she's done, her secrets revealed, she glares at the moon as though it has just slapped her in the face. Notice her hands. When she leaves the step to go back in the house, the shadow of her hand crosses the body looking like a claw. And in the house while she's giving directions, her right hand, the one that held the gun, is held awkwardly open and a little away from her body as though she doesn't want it near her, doesn't want the memories o
  12. My first impression was of impending danger. From the initial angles, it felt like the train was going to fast. I quickly sensed from the crew that all was normal. This was everyday to them. They have worked this job for so long they don't even need to speak but use hand signals and almost read each other's minds. As the train slows going into the station and the perspective changes to to front of the train, I sense reverence. There is a drastic contrast in the speed of the train at the beginning to the end of the clip. I've never seen this movie, but this clip and this opening makes me w
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