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BrianM

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About BrianM

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  1. This may be an interesting addition to the list of other appearances of "Alfred Hitchcock" in various media... Has anyone else ever seen a series of books (I think they were out of the UK, but I may be wrong) that feature a pudgy, freckled, bespectacled boy detective named Alfred Hitchcock? If I remember rightly, they had similar titles to the later Harry Potter books, i.e., "Alfred Hitchcock and the _______," or, "Alfred Hitchcock and the Case of the ______." But again, I could be wrong. I remember my younger brother having at least one of these, but many years ago (so, long since
  2. I've always liked the title sequences in David Fincher's movies, and he has acknowledged Saul Bass as an influence. They do draw the viewer in to the movie, the way Hitch's opening scenes/titles did, in either an exciting or unsettling way.
  3. Here's my two cents on this topic; probably most or all of these have been mentioned before, but let's see if I've come up with something new: I mentioned 1976's Silver Streak in an earlier post - very similar to North By Northwest Stanley Donen's pair of European-set/romantic comedy/caper movies, Arabesque and Charade And two more recent ones, both, interestingly, with Angelina Jolie: The Tourist, another European-set/rom-com/caper film, which I rather liked And, an interesting twist on the wrongly-accused man movie, the wrongly-accused woman movie: Salt, in my opinion, also
  4. Here's a slightly different Hitchcock opening scene. This time, you see the title "Frenzy" over a magnificent helicopter shot of the Thames, accompanied by a patriotic-sounding march that would make Edward Elgar jealous. All you can think is, "Hitch, what are you up to?" You just know this isn't going to end well. There is another long shot, into the speech given by a fatuous politician about cleaning up the Thames (which did happen). The crowd applauds politely, except for the sour-faced man in the bowler hat. Then, as if to pour cold water on the optimism of the affair, a relic of London'
  5. Another essentially silent scene in this introduction. First thing that struck me was the similarity of the music to that of Vertigo, with a repeating musical motif, which starts off higher, then is echoed in lower tones. As the unseen woman washes the dye out of her hair, and we are given a full-screen reveal of "Marnie," the music swells to an almost ecstatic peak. She's someone else! She's free! (Shades of Judy's transformation (back) into Madeleine in Vertigo). In only a minute or two, we understand that this is a person who has stolen money and is changing her identity. One tell
  6. From memory, I was going to say this opening was different from the regular "unsettling" one that we've become used to in Hitchcock's movies, but then I watched it. No, no, no - plenty o' foreshadowing here; Melanie sees the huge flock of seagulls, which are the dominant sound on the soundtrack as she walks along the street; the opening shot of both her and Mitch in the pet store is "bird's-eye"; he also glances at a caged bird as he summits the stairs; and the sounds of birds almost drown out the human dialogue that follows. The Birds has always been my favourite Hitchcock film; I first w
  7. As Dr. Edwards points out, the music in the opening (and all thru the film) is only performed on stringed instruments. We all know the "slashing" effect during the shower sequence, but this opening is quite a different effect, one of stabbing or gouging, and as I've pointed out previously, sets the audience on edge immediately. It's in a fast tempo, like North By Northwest, but the effect there, for me, was to help set the pace that much of the movie would take. In Vertigo, the slowly undulating woodwind figures set up the dreamlike and hypnotic psychological effect that movie would exploit.
  8. Another Hitchcock scene that presents a character in a certain way, only to have your first impressions proven wrong later in the film. You think the Eve Kendall character is a shameless flirt, but later find out she's been made to do it in order to entrap Roger Thornhill. It's kind of a nice parallel to the bad guys' (and Eve's) mistaken idea that Roger is someone he's not. Come to think of it, most all the main characters aren't who they seem to be at first! As others have said, the matchbook business is a way for the two characters to have actual physical contact with each other for t
  9. I was privileged to see this film in a movie theatre on its reissue in the 1980s, and was completely blown away - by the story, the acting, the look of it, and the ending - everything. I saw it again (in a theatre) a year or so later, and while the shock of the ending wasn't as powerful, this title sequence was still amazing. I've just watched it closely on a 20-inch computer screen, and it's still effective! The spiral/circular graphics fit so well with Hermann's repeating figure in the woodwinds that it's uncanny. Looking at it now, the striking moment when the music hits a harsh ch
  10. Another great opening shot from Hitch for this movie. In just over two minutes, we get a kind of preview of what's going to transpire for most of the film! It lets us know that WE are the voyeurs here, not the sleeping Jeff. I love how the shot starts off low, following a cat, that greatest of prowlers/voyeurs. The shot follows a rectangular pattern, then there are cuts to several of the apartments, showing intimate scenes, particularly of "Miss Torso," topless at first. Then the camera "prowls" Jeff's apartment, and we discover everything we need to know about him; his job, his ac
  11. Another great opening shot from Hitch for this movie. In just over two minutes, we get a kind of preview of what's going to transpire for most of the film! It lets us know that WE are the voyeurs here, not the sleeping Jeff. I love how the shot starts off low, following a cat, that greatest of prowlers/voyeurs. The shot follows a rectangular pattern, then there are cuts to several of the apartments, showing intimate scenes, particularly of "Miss Torso," topless at first. Then the camera "prowls" Jeff's apartment, and we discover everything we need to know about him, his job, his accide
  12. It's interesting to watch the camera work in this opening sequence: Under the credits, it's about eye level; then, as the first taxi pulls into the station, it lowers way down to lower-than-knee level. (I noted, when this scene was used in 2015's Film Noir course, how it looks as if the taxi is going to run right into the camera). The camera stays at that level (except for a tilt that shows the back of one of the men entering the gates), and stays that level on the front of the train (yipes!), until the shoes collide under the table (foreshadowing), and then we see the two men. Slightly
  13. Confession: I've been in love with Ingrid Bergman for decades. Not only because of her looks (those eyes! That nose! Those lips! Those cheekbones! I could go on and on), but because she was a very naturalistic actress. Her reactions, movement, expressions, etc., are unlike other actresses of her era. As we see in this scene, for instance, she was unafraid to look messy and disheveled. Small actions like tossing away the hairpiece, or pulling a hair out of her mouth, really reinforce the fact that she's in a bad state, or perhaps better, a careless one. Wooziness and near-nausea are appare
  14. There are certainly "Hitchcock touches" in this scene: In fact, of it weren't for the chirpy music (featuring an ocarina, no less!), it could be seen as very dark. There is a long tracking shot straight into the single right eye of Mrs. Smith in the bed, perhaps foreshadowing the very similar shot of Marion Crane's dead face in Psycho. Then, there is the voyeurism that Hitch was so fond of; the maid tries desperately to see into the room where the couple's been holed up for three days; once again, if not for the music, this could be a very menacing scene!
  15. This scene is a good example of how the stillness of a villain can be more menacing than someone who is "over the top." Uncle Charlie lies very still on the bed as the landlady moves about, but, by the dialogue and the nervous movements of the landlady, you know he is the dominant figure. It's like Mrs. Danvers in Rebecca: in several of her first scenes, her head barely moves, only her eyes. Only in the scene in Rebecca's room do her face, head and hands come alive. In the last scene from the lecture video, Uncle Charlie speaks contemptuously of "those women" without a change of expres
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