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About JazzGuyy

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  1. Lynda LaPlante would be my choice for a writer. She was the creator/writer for the original Prime Suspect TV series and I think her gritty approach to crime and English background would appeal to Hitch.
  2. The Conversation is certainly about voyeurism and uses lots of through the window and high angle shots à la Hitchcock.
  3. Clouzot is often considered the French Hitchcock. I think the humor element is stronger in Clouzot's films. There is certainly an affinity between the two.
  4. The real shop clerk is a clear comedic figure. She seems to be a bit scatterbrained and has a silly element. She reminds me in some ways of the kind of character Edward Everett Horton played in many 1930s films. I also noticed that the birds are all upstairs in the pet shop. Hedren's character has to climb a staircase to get there--another classic Hitchcock element. Also the birds are above the rest of the pet store animals and we are getting a bird's eye view almost immediately. It's plain that the birds are not ground animals. There are also lots of birds in that shop and they are shown
  5. I'll say up front that this is my all-time favorite Hitchcock film. It has everything that became part of the Hitchcock 'touch': the handsome leading man, the cool, cool female lead, mistaken identity, a chase that takes us to famous or exotic places, humor, a British actor or two (Grant, Mason, Carroll), fear of heights and falling (Mt. Rushmore), moments of sheer terror (crop dusting scene), sexiness, etc., etc. This movie just has everything and in perfect proportions. This scene on the train is certainly one of the great seduction scenes in the history of film (maybe the greatest) and
  6. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? ​I see two vantage points in this shot. The camera pans the courtyard and apartments but then moves into Jeff's apartment. So we see his view but we also get a taste of the view of his neighbors into his apartment as we track into the apartment. This reminds us that sometimes the voyeur can be 'voyeured'. This will become important later in the movie. It is i
  7. Earlier comments have covered a lot of what is in this scene but I have a couple of additional observations. The opening musical theme from Tiomkin at the very beginning of the scene sounds more like the theme in a romantic movie than in a suspense one. For me, this prefigures the perverse kind of 'bromance' or even romance that will take place between Bruno and Guy. This romance has sadomasochistic elements with Bruno being the dominant and Guy the submissive. Just as in Rope, ​I find more than a hint of a homosexual romance, even if in this case probably only from Bruno's perspective.
  8. Grant, as in his earlier work for Hitchcock in Suspicion, ​is playing against type to a great extent. Grant was really most known at this point in his career as a comic and romantic lead. But in this film, while still suave and sophisticated, he is a darker, tougher character than the public usually expected him to play. There is not a hint of comedy here and rather than being debonair to a woman, he is playing tough with Bergman's character. He is asking (practically forcing) her to do things she doesn't want to do. The romantic Grant of many of his earlier films would have been more into sop
  9. While the beginning of this film seems to be stock Hitchcock, there are a couple of things I noticed. The Hannay character seems distinctly out of place in the music hall. The audience seems to be composed mostly of working class people. There are plenty of working class accents revealed in their questions. They are wearing working class clothing like mob caps vests without jackets. Hannay, on the other hand, is very well dressed and neat. His expensive looking overcoat, sharply creased trousers and well shined shoes don't seem to fit in. He is also identified as a Canadian. Here we have a Can
  10. I have not seen Downhill but there are several things going on in the scene we have seen that make me want to see it. We see money moving from a male hand to a female one in the double exposure part of the scene. Does this imply the woman is a prostitute? Is she? The intertitle that identifies that the boy has a very wealthy father implies that the girl may be just a fortune seeker? Is she? Is she really pregnant? If she is, who is the father? Is he some poor guy who has nothing to offer the girl? While the picture is probably not a thriller, there are certainly mysteries here to be solved
  11. I think the analysis of the scene by the other posters has been pretty thorough but I do have one observation that I haven't seen mentioned. Since the fighter can only observe his wife and the champ through the mirror and not anything else that is taking place in the party room, is the whole scene we see of the wild party with drunken dancing and carrying on taking place all in his mind? When he actually enters the party room, the actions of the people we see are nothing like what the party scene seemed to show. Everyone is relatively sedate. His wife is next to the champ but they are not
  12. I think previous postings have pretty much covered the ground here but I do have a few personal observations. The cutting here is much more frenetic than in The Pleasure Garden. I also find that I am less certain of what is going on right away. Clearly something has happened to draw a crowd and involve the police but the viewer is not sure what. This is something that Hitchcock uses in later films. We are thrown into the middle of things without understanding what is going on. Little bits of additional information emerge as the scene unfolds but Hitchcock still keeps us in the dark about a lot
  13. The recently Blu-Ray releases in both the UK and the U.S. have the movie in the current best restoration and use tinting throughout. Tinting was not uncommon in silent films to indicate different times of time, interiors vs. exteriors, moods, etc. Filmgoers of the time would probably be familiar with these uses and would take them in as aspects of the film when they viewed it.
  14. The use of the different tints was very common in silent films and an audience of the time would probably be familiar with the uses of tinting. Blue was used to indicate exterior at night and sepia for interior shots. Other tints such as red, brown , and green would also be used in some films.
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