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picasso55

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About picasso55

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  1. Here is an out of the box or left field suggestion; Knight and Day. Tag it to the combination of wrong man, blonde, plane/train/bus/car/etc, exotic locales, quirky relationship, crossed with screwball comedy. Box office failure but a good flick non-the-less.
  2. I too was thinking of a picture that until this, no one mentioned. Who knows, perhaps only you and I saw it. The Hot Spot has many Hitchcock like elements and if people have not seen it, I believe it is worth your time.
  3. To add to your point in #2, "You get the picture of what is going to happen - no graphic scene needed." Hitchcock loves playing with the audience and in the ending of this movie, perhaps a tease to the censors. As our lead characters are back in the train, in their stateroom and we all know what is about to happen, the scene cuts away to the train going into a tunnel. I get a chuckle every time I see it and I am sure this is what Hitchcock was going for.
  4. This opening sequence suggest being off balance, fear, and dread. It goes without saying if you are viewing a Hitchcock film one is already prepared for a suspenseful ride and this opening only solidifies that feeling. I find the eyes and of course the swirling graphics support each other just as the design and score. When the eyes look back and forth, I see the concern of looking out for danger and then the widening of the eye indicates the fear that the danger has been seen. The swirling graphics make you feel off balance, dizzy, and then perhaps falling in a death spiral as the movie title
  5. Lots of great posts today, thanks everyone! I would like to focus in just one area as it relates to vesting the audience into Jeff's world by the viewpoint from the Rear Window. Hitchcock has introduced you into the extent to his life in the chair, in the apartment, and through the window which is all Jeff has since his injury. The question of whether he is a voyeur or an observer is a key here. He is evidently an action photographer which requires him to be involved in the action to a degree and therefore is the ultimate observer who is out in the world experiencing all of the excitin
  6. I totally agree with your observation that this opening is a close parallel to a silent film. If there was no dialogue at all, the viewer would still receive the same information and foreshadowing about the couple, their life, and the tone of the picture. It has been mentioned in a number of comments that this opening differs from the typical Hitchcock opening in that it is not a chaotic crowd scene. I would suggest that it is indeed a chaotic crowd scene in that the dished and clutter in the room IS the chaotic crowd.
  7. I noticed the hole in his suit jacket as well and as the rest of his suit looked pretty good, was this a bullet hole? Many people have commented that he may be in hiding and from the nonchalant attitude with the money, perhaps it is not his focus. There are also a number of comments about the landlady looking out for him as a sign he charms older women. I offer a slightly different view; Let's assume we don't know anything about the rest of the film as if we are seeing it in the theater in it's first release. He is in a low rent boarding house yet he has money, he is lying on the bed but fully
  8. To your point on "Note"; In my view, Hollywood has become entrenched in the tension they want to create with the so called secrets that will be revealed over time. Sadly, it is difficult to pull this off as when you have seen as many movies as I have, all to often, I see these pieces of withheld information quickly and therefore there is very little reveal for me. With your Westworld example, although I enjoy this series, in their effort to avoid revealing the "secrets", they follow threads that, I think could be more interesting and have greater depth if you knew the secret and it was more ab
  9. Agreed but with one additional observation; this is not a location where a gentleman would typically frequent so the viewer is faced with a question of his motive for being here. Is he slumming? Is he looking for a brief escape from his more upper class life and simply wants to be a "regular guy" for a bit? Is he using this location as a place to disappear for a while as it is out of character for a gentleman? No matter the motive and despite his demeanor of innocence, he is out of place and the viewer is therefor drawn to him with just a bit of intrigue.
  10. There are a number of great comments thus far today and I will not restate what others have already discussed. That said; I agree that the POV dolly shots from the onset of the clip, bring you into the tension of having to make the long walk to face impending doom. Hitchcock as Dr. Edwards points out employed various interesting film techniques throughout his career that became signature traits for him. The POV shots being one of them to such the audience in such as in the clips this week as well as later films such as Spellbound for the suicide scene. The desired result is to pull you out of
  11. Additionally, I would suggest that the manner in which the interaction takes place between the manager and the boxer gives the impression that the manager may be creating tension to fuel the boxer's anger and drive to win.
  12. Why did people get so dressed up in the "olden Days?" This continued through the 60's as my father wore a tie at our dinner table every night. People dressed up to go to parties and even air travel. You rarely would see someone on an airplane who was not in their best clothes. I love the casual environment we live in but in some ways I admire the respect shown for daily events in those "olden days"
  13. You mentioned "dizzying blur of warped, elongated, in-and-out-of-focus images" and I believe these are to illustrate the boxers growing fear but also cement in the viewer's eyes that this is a distorted view in the boxer's mind. Hitchcock wanted, whenever he could to put you in the character's mindset to vest you in his vision.
  14. Long yes but worth the read. Well done sir. I too am a huge fan of Brooks and Wilder.
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