Bahiya

1. Do you see the beginnings of the "Hitchcock touch" in this sequence? ​We are brought into the world of the theatre from the audience prospective, but then the camera focuses on the audience from the chorus' view. The woman who was snoozing while the men were so engaged was a hoot. We are brought backstage by the gentleman who wants to meet the blonde chorine. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? I've noticed Hitchcock takes ordinary people and puts them into extraordinary circumstances. I believe the pick pockets are an early use of the McGuffin. The theft makes us sympathetic to the girl who had the letter of introduction. 3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue? The acting and shots are expressive enough to allow you to follow the story even though there is no sound.

I see the Gardener as a kind of every man character. He's just going about his day trying to accomplish his task when the boy mischievously steps on the hose and releases it when the gardner looks into the nozzle. He sees the boy and has that moment of realization that he's just been pranked. Now the chase is on as he goes after the boy the same way you might go after someone who puts an ice cube down the back of your shirt. I think its all in good fun and we share the moment with him. This Gardner is an early incarnation of the hapless everyman that will emerge in Buster Keaton films.