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About Mandroid51

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  1. Just wanted to say thanks to Dr. Edwards for a stellar course! Best yet! Looking forward to receiving the certificate. All the best to all my classmates young and old. Alfred Hitchcock not only bridged art and commercial filmmaking combining brilliance experimentally, innovatively, technically, and the best showmanship the silver screen would allow. He also bridged any gaps between age groups through his lens and collaborators. Cheers Hitch! http://www.imdb.com/name/nm0000033/
  2. I'd say any show in the vein of Alfred Hitchcock Presents. I.E. Amazing Stories, Twighlightt Zone, the Hitchhiker series. There's two movies that are clearly homages/remakes: Psycho by Gus Van Sant, and Jeff Bleckner's Rear Window remake starring Christopher Reeve, and Daryl Hannah Just about anything from Brian DePalma or Dario Argento in the 70's Oh and Martin Scorsese's Cape Fear (also a remake but in the tradition of Hitchcock bigtime!)
  3. I don't wish to even try and place my finger on the Edith Head or Bernard Hermann's of today, but I liked some of what I read from others including Sharon Stone as a blond femme fatale or otherwise. Also liked someone saying David Lynch. It doesn't limit the selection in terms of just direction which obviously would fall on Hitch himself, but Lynch is a highly skilled and inventive sound designer. In my opinion his integration of sounds and music is top of the heap. I'd also be interested to see how Hitch would adapt to the CG of today but it's allot of speculation to throw good craf
  4. Hello Alexandre Phillipe. Hello again Dr. Edwards! I just wanted to ask what was the biggest draw or motivation for making 78/52? As a filmmaker this interests me very much. I know all too well of the challenges filmmakers face so congrats on it's completion and thank you for being a part of this massive online course. Continued success! Sincerely, David
  5. 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. Frenzy feels larger and more grandiose with the expansive shot from helicopter and crane swooping in on a public event. Frenzy was in colour and had sound (late twenties versus 70's) The Lodger presents more foggy images of cityscape and in b&w with a Scream as opposed to bystander declaring "look!" And then we see a floater. I've only seen Frenzy broken up so will watch again for more modern take on Hitch's horror in London, England
  6. I think your analysis is just as good as any experts. I would agree with the Vertigo analogy as well. I think of 'Taxi Driver' as well or 'It's Alive' with Hermann's scores and specifically the use of harp. It's speaks to make belief more than other instruments like the piano or violin perhaps because Disney and many similar fantastical stories have had similar scores. The biggest draw for me subjectively speaking is these characters might be living in their heads more when I hear those particular scores. Then again the mysterious nature also plays into fantasy equally in my humble opinion.
  7. Don't forget 'Dial M for Murder' I believe Hitch has cryptically over the span of his career left more clear meanings in his interviews however indirectly almost like clues if not directly. I'd say the only time it is most obvious is when the auteur says so directly whatever the topic. Sometimes they dropped their guard perhaps the ego getting the better of them...
  8. 1. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects. Marnie is an imposter or holds a double life. She could be a thief and is actually blond. The objects also suggest she's travelling, possibly escaping... 2. How does Hitchcock use Bernard Herrmann's score in this scene? It sounded like it was make belief with the raising and lowering of harp strings and the music seemed to come in and out like breathing. I get the impression he wanted t
  9. It does seem creepy in that context but I recall a story that Hitch was in on an inside joke about a commercial that Tippi was in where they whistled at her. I think Hitch was playing with that as a side note perhaps he's playing to a younger audience as opposed to strong sexual undertones. Experts can correct me if I'm wrong.
  10. 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? It seems more like a romantic comedy because other than the foreshadowing of the hovering mass of birds in the sky Tippi flirtingly doubles as the pet store attendant and proceeds to be knowledgable of birds. She's playing an imposter in order to flirt and toy with Rod Taylor who we learn about looking for "love birds" in all the right places. You'd never know doom or apocalyptic themes
  11. 1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? The titles and music introduces horizontal movement and vertical movement it resembles volume bars or a heart rate monitor in appearance. The white horizontal lines layered over one another move quickly in racing/stabbing like motion either left or right or both. Usually they meet in the centre and break away etc. It communicates intensity alo
  12. I think Hitch was always looking to further the point (characterization) of his characters. Without giving spoilers away your point should come to fruition at a later time in the movie...
  13. 1. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the Thornhill/Grant line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. There seems an inside joke created when you consider their star power (double meaning in that sense). The audience could be getting nudged in that context for the fame Grant and Marie-Saint acquired. Not really my area of interest because society is way too caught up in fame is my feelings. I have a hard time seei
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