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Everything posted by Hitch_nnw

  1. Actually I think a good topic would be the films of the directors who emerged in the 1970s--Coppola, Spielberg, Scorsese, Altman, maybe even Lucas. They all follow Hitchcock in the sense of being "auteurs."
  2. The most logical choice would be another genre. There are many that have been much more sustained than film noir or screwball comedy. For instance: Gangster Western Science Fiction Historical Epic
  3. OK, that all makes sense. Some of what I've read about the film is that it's about "healing." But that's a hard one to buy. These characters seem far too messed up to be able to heal in any significant way.
  4. Just wanted to raise this important question: does Mark really rape Marnie? In much of what I've read on the film, the word "rape" is used as if it were an incontestable fact. Perhaps because of censorship issues, much is left in doubt. Mark apologizes to Marnie after he tears off her gown. He again seems tender here. But soon after his face does look brutal. So does he momentarily turn into a monster, or does Marnie decide to succumb to his seduction?
  5. Brian De Palma would fit the bill here, though many regard him as copying Hitchcock WAY too closely. In fact, I would say that myself, though to be fair I have not seen anything by De Palma in quite a long time. As far as being commercial is concerned, De Palma maintained popularity for a considerably shorter period of time than Hitch.
  6. At this point I am taking Marnie out of the worst movies by our genius (on another thread I started), and indeed I'm regarding this as a must-see Hitchcock film. There are some horribly fake-looking scenes (and I don't think they are intentionally so), and I don't buy into the notion of Hedrin giving a consistently great performance--while yet admitting that in many scenes it is great. This film is different, and it is disturbing, and it has Hitchcock touches, and it has a personal quality. At the same time, I am not going to say that the value mainly lies in allowing us to psycho-
  7. I think many of those who actually do win (movies, performances) are barely remembered even 5 years later. Hitchcock has done a bit better.
  8. This is indeed a brilliant movie on so many levels, although the shower scene will forever remain the key scene and the one that will always be most analyzed. I've always been impressed by the second murder--and for some reason the final image of the raised knife. You imagine it's dripping with blood, although I'm pretty sure it isn't. Also, it's in my mind that the knife might be thrust into Aborgast again. I think there is a lapse in logic, or maybe it's more an error in timing. I recall Norman going into a cabin just before Arbogast pulls up. Arbogast is into the mansion pret
  9. I agree with a lot of this, but I would rate Blackmail as his first film bordering on a masterpiece and Number 17 as a minor classic.
  10. I agree with you--I think he was burned out. That's what I get from watching it (although I have watched the film just once so far), and that is the view I recall from Donald Spoto's bio of Hitchcock. A director can make a movie that is artificial and yet artful. To me, a good example of that is Coppola's Dracula. Marnie is not that.
  11. Just check back. Are you fairly new to Hitchcock--seeing a lot of films you have not seen before?
  12. I'm curious to know who intends to watch all of the Hitchcock films on TCM this month. I mean watching all of them live or some time during the month of July. The scheduling is odd, with some films beginning at 4:00 a.m. But of course we can and do record. I think they are showing 44 films, which is a high percentage of the total. In my life I have watched all of Hitch's sound films but two (Juno and the Paycock, Waltzes from Vienna), and many I have watched countless times. But there may be those who are relative novices with Hitchcock who are trying to watch all 44 (or close to it
  13. One Oscar for Herrmann--and not for a Hitchcock film! Nor only that, it looks like he never even received a nomination for a Hitch film. It's disheartening to see how poorly the Academy has recognized great work. But they do recognize John Williams, who has 5 Oscars plus nominations in nearly every year of his 50-year career.
  14. In my opinion Bernard Herrmann and John Williams are the only two men who scored movies who deserve an exceptional degree of analytical study. Without their work, many films would be much less than what they turned out be be due to the music--dare I say, they might not even be classics.
  15. I think every Hitchcock film should be viewed at least twice, even the ones that appear to be duds. But maybe not the silents. Other than the works of Chaplin, Keaton, and Lloyd, I tend to have a hard time with silent movies. But I am glad he came up in the silent era, as there is no doubt that had an influence throughout his entire career.
  16. As actors they were quite young, especially Granger. And I agree that they they are interesting characters and good performances. The other night the TCM hosts expressed surprise over how much screen time Robert Walker received in Strangers on a Train--given that he is the villain. But Dall and Granger are certainly villains and they dominate the screen time in Rope.
  17. Every director, no matter how great, produces a dud once in awhile. i won't comment on the silent movies--I've seen only two. I have seen every sound movies except Waltzes from Vienna and Juno and the Payback. These are the ones that seem like outright bad movies. The Skin Game Under Capricorn Marnie Topaz I know that Marnie has some fans, and it is argued that is an interesting or revealing movie. I've seen it just once and did not like it at all.
  18. One wonders why Hitch didn't just decide to shoot the film as a series of mostly long takes and not go about the business of hiding the cuts. A movie is not a play, and Hitchcock would know that better than anyone.
  19. I did not hammer the idea that Rear Window is the better film of the two films (and nearly every Hitchcock fan would agree on that), but I was pretty clear in pointing out the shortcomings of Rope. Rope is not a great move, but is definitely worth watching.
  20. Has anyone mentioned Phone Booth starring Colin Farrell? This strikes me as a highly effective film in the limited-setting mode.
  21. Oh, there are some very talky films by Hitch. Another that comes to mind is Dial M for Murder. But I think he is distinctive for shooting very extended silent (or near-silent) scenes in late movies like Vertigo and Psycho.
  22. I was going to mention Pat H. myself. She has a pretty significant role in Strangers on a Train.
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