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Thief12

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About Thief12

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  1. Well, I hope I'm not disrupting anything by making a "Thank you" thread, but here it goes! First of all, I'd like to say that this is the fourth course I've taken with TCM/Ball State/Canvas. Started with the Film Noir course back in 2015, and I've been hooked since. For someone like me, who discovered the passion for cinema perhaps a bit too late in life to change careers, this is a unique moment where I can truly watch, learn, and share my love for the medium. This year's "Mad About Musicals" course presented a challenge to me, and I think I've said this several times on Twitter and
  2. First things first, I saw Cabin in the Sky last week and I really, really liked it. Very enjoyable and entertaining film. One of the reasons why it's so enjoyable it's because of Ethel Waters earnest performance. This scene is a testament to that since there's such a loving nature to her performance that you just have to believe that she loves Joe. And that smile? Oh boy, glowing. Loved her performance in this. Didn't really care about Lena Horne.
  3. I really didn't have much knowledge about Judy Garland's career beyond The Wizard of Oz, which was the only film I've seen of her. But I really loved how Dr. Ament put her career in perspective in terms of her impact to musicals and Hollywood as a whole. It really piqued my interest and I have plans to watch several more of her films (hopefully, Meet Me in St. Louis tonight) As for the two scenes, it's really evident what Dr. Ament says about how despite her talents, Garland never tried to upstage her partners. And considering she is partnered here with Astaire and Kelly, both of which ar
  4. 1. The whole scene is designed to evoke a certain respect towards America and the US Presidency. From the elegance and reverence of the butler towards Cohan but also to his job, to the paintings and portraits on the stairwell. The whole Cohan demeanor, and how the President is portrayed as a respectful yet approachable person. The whole conversation with the butler about "singing and dancing about the grand old flag" to the conversation with the President about "always carrying a flag" and how he inherited that from his father. 2. Quotes to boost the morale? "It was a good old song i
  5. 1. I don't think I've seen anything about Lubitsch, but the things that are mentioned in the DD really jump to attention. The closeups of the gun, the garter, and other things. The way the camera and the direction moves to different sides of the room as opposed to the more stagey-like directions we saw in other films makes everything more real. As for the character, one can see that he is playful, sly, and clever. It's the kind of character that draws the attention. I'd really like to see more of him. 2. The distance of the sound as they talk from outside to inside of the room, as well as
  6. 1. Although I haven't seen this film, I think that both scenes are an example of how the tables turn between the characters. In the first scene, Bruce is very confident in his courtship and singing, while Marie either mocks him or doesn't pay much attention. In the second scene, it is Marie the one who's being ignored by the audience and upstaged by the other dancer, and she just can't take it. Bruce's expression is one of genuine preoccupation and pity of her. 2. N/A, cause I haven't seen them at all. 3. Well, first Bruce's courtship attempt is charming, but distant. He sees himself
  7. Arriving extremely late to this, but whatever... 1. I agree with the DD statement. The whole clip shows a whole "universe" devoid of the hardships of the times. Expensive shows, elegant dresses, huge flowers, valets and maids... like Dr. Ament said in the lecture, the film is probably appealing to the needs or wants of the audience, perhaps trying to help them reflect themselves in this "false" world of richness. In addition, although I haven't seen the film, it is said that the rivalry between the producers is more playful than cutthroat, whereas in true life, given the conditions of the
  8. I agree about the lecture delivery and also the conversation videos. One of the things I've enjoyed in these three Canvas courses I've taken with Dr. Edwards is how cleverly he has adjusted the delivery according to the topic. It shows a very deliberate and meticulous approach to the course. For example, "mysterious" conversations from dark rooms for #NoirSummer, "loud", sports-like commentary for #SlapstickFall, and finally, a more serious, biopic/documentary like for #Hitchcock50. As a teacher/professor myself, I can attest to how tough it is not to fall in a routine when offering course
  9. Love this quote that Dr. Edwards brought from Hitch's Lifetime Achievement Award: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville..." Reading up about Alma's collaboration with Hitchcock makes me wonder, she had already earned her reputation as a scriptwri
  10. Oh, and speaking of Psycho remakes, I give my endorsement to A&E's recent TV show Bates Motel. It is not perfect, but it's anchored in two excellent performances from Vera Farmiga and Freddie Highmore as Norma and Norman Bates. Seriously, if any of you decide to give it a chance, be patient, give it time. The first 2-3 seasons are fun, but messy. Some supporting actors are pretty bad/mediocre and the pieces of the story take some time to fall in place, but the last two seasons were pretty great.
  11. I find A Perfect Murder to be a pretty solid reimagining of Hitchcock's classic. Michael Douglas goes toe to toe with Ray Milland, and the twists add complexity to everything. If anything, the last half botches the end result, but I still like it. As for the Psycho remake, if you can see it for what it is (a mere experiment, a curiosity) then there's no harm in it. The acting feels a bit stiff (a result of doing a shot-by-shot, line-by-line remake) but I don't think it merits the vitriol it gets. It's inoffensive.
  12. 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. I see more similarities than I see differences, but anyway, The Lodger opens with the screaming girl, and then opens up to the crowd, and then wider into the city and the media. Frenzy opens up with the city, the crowd, and then closes up on the already murdered girl. The similarities, I think Dr. Edwards and W.G. discussed. The murder of a blonde girl at the River Thames in London, crowd finds the body, and discover the killer's tradema
  13. 1. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchock visually reveal her character through her interaction with objects? The most obvious is that she is either a con artist or a thief. There is a mystery to her walk as we first see her walk down the hallway. The fact that we don't immediately see her face also adds to the mystery and allure. There is also a dual way in which she packs: the suitcase to the right, the one she takes with her, is carefully packed with clothes neatly arranged. Only the money is thr
  14. One simple question that I've had in mind for Dr. Edwards and Wes Gehring during the course would be their favorite and least favorite Hitchcock films. So that would be a simple question that can also be extended to Mr. Philippe.
  15. 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? Well, the exchange between Melanie and the cashier can be considered humorous, and so can her conversation and flirting with Mitch. The only foreshadowing of the horror aspect is the swarm of birds outside the store, but other than that it starts pretty light. We can see that Melanie is decisive and determined. She is outspoken and a bit sarcastic. She takes it upon herself to flirt
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