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About ManondelaCure

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  • Birthday July 3

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  1. Oh what an interesting question this is and I could do a paper on this topic, but choose just three of my major interests as writers and some honorable mentions: Maya Angelou Writer, singer, actor for over 50 years and just amazing. My mother gave me, "I know why the caged bird sings" and I was hooked. She had such a rich life and was awarded over fifty degrees. Would tie into Hitchcock's humble start in life, like Maya, both of their love of music, writing, life and interesting experiences. She was friends with Martin Luther King, Jr. Nelson Algren Mr. Algren (1909-1981) is an American writer that won the National Book Award in 1949 for The Man with the Golden Arm, later a film. He was the lover of Simone de Beauvoir (She was the lover of John Paul Sarte) and just an interesting writer since he was from the Midwest, in WWII, married a woman who was severely injured in an accident he may have caused and wrote a lot of pushing the edge books on Chicago and other topics. He worked with Otto Preminger and did some acting too! Woody Allen Most all know him, so just briefly. Six decades of films, writing, acting is enough said ...I suggested TCM and Dr. Edwards so a class on Woody as it would be amazing! Honorable Mentions Ray Bradbury - a brilliant mind Dan Brown -adventures written like 30 Steps, NBNW, James Bond, etc. James A. Michener - culture and adventures in different timelines Clive Cussler - adventure with a Cary Grant type leading man with green eyes Pat Conroy - Southern charmer and Hitchcock could learn the dark side of Pat's mind Michael Crichton - outstanding physician-medical writer and an imagine to go to many worlds Ken Fowlett - totally cool writer that is comfortable in many centuries Upton Sinclair - just pure class and would have been amazing J.K. Rowling - she is cooler than glass this woman of great talent and imagination Dylan Thomas - oh, he was a man who could write and bring you into his world Ian Rankin - Scotland comes alive with the local police and dark crimes Edith Wharton - interesting view on the world John Updike - just amazing body of work Stieg Larsson - we lost our author of four (3.5) books of the 'Girl with the Dragon Tatoo" too early as he was a very talent man and would have written well with Hitchcock Hope that was enough to generate some thoughts
  2. Dear all, It is amazing how many times watching the films for this course, I stopped and realized the materials/idea had been 'borrowed' post Hitchcock, e.g., the scene in, "Sneakers" with Robert Redford, Sidney Poitier, Mary McDonald, Ben Kingsley, etc., where Robert asks CIA agent Sidney to get each of his team something large and what they can't afford totally in the same way as Alfred had done (sorry can't place the film just now)--even with the same film shot and positions of the leading actors and secondary actors. It blew me away! Everything ...truly seems to have some of the Hitchcock touch to a certain extend doesn't it. We are forever changed by him. Cool website: http://www.imdb.com/list/ls071418428/ Some key folks: David Lynch Q. Tarantino Coen Brothers Ian Fleming films--James Bond Humor was very high always in Hitch Films (Cary Grant shaving in the Chicago train station running for his life and takes time to make an Adolf Hitler mustache while the other man in the bathroom watches him with his little device), the film, Spy, check out: http://www.dartmouth.edu/~gjdemko/french.htm; in ALL James Bonds films and the French version of OSS 117 is hilarious with Hubert Bonisseur de La Bath with the handsome actor, Jean Dujardin. Interesting as there were some super cool murder mystery books in France in the second half of the 19th century (and prior) that Alfred Hitchcock must have read with his French love of things and then other continue to borrow from him ...the ultimate circle of life. Check out: http://www.dartmouth.edu/~gjdemko/french.htm Thank you all! Great posts and I have learned so much ...we still can cherish 4 more days! Cheers, Nancy
  3. 1. Frenzy - No immediate horror occurs, no woman screaming right at the start, not at night, no flashing sleazy dance club sign, full and busy location with a wide variety of types of people in place verses an empty street, nicer part of London and better dressed people. What ...specific.2. His humor - the opening is very British, upbeat and like a travel documentary; Polished modern filming - the high soaring in to a scene is so much more polished than the artificial scene in The Birds, when we have a 'birds-eye view' of the hectic town below with the fire. He has soared in before indoors (Ms. Ingrid holding the key in Notorious), yet this shows us a smooth entry into London and a lovely view of the Thames; The blah, blah, blah politician with the red rose going on and on like the soap box speakers in Piccadilly on Sundays with empty words and empty promises and a jolly smile; The hilarious guest couple--the nearly sleeping, red-faced, portly Austrian-Hungarian-German looking man with his silly big necklace (many of these are still utilized in the U.K. today with thick velvet and a medal tho ...) and his assumed wife, who is heavy, red-headed, has a silly fake grin and a ridiculous hat; ​His cleverness - the four people that notice the dead body and turn much like the chorus girls did one at a time in exact sequence; His abnormal warped view of women as he always has them being murdered resulting in a lack of overall respect as seen in many of his films, not so true with the men, and; ​His pushing the boundaries of ratings, now to be an "R" he can show a naked body and even show her bikini lines verses the dead woman in The Lodger. 3. He was older, but was still trying out new ways to trick us, he didn't have to have famous actors, he didn't have to get permission for anything, he had an "R" rating, which gave him great scope to get more horrific and graphic (not too happy about this turn in his style) and he could ramp up the humor with music, characters, etc. to a higher level. This film was different; higher class location, more upbeat music, during the day, full color, all well dressed characters, all seems like a pretty spring day and we are breathing easy and trusting that this is a film that seems safe and controlled until the, "look!"
  4. 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. She may be a criminal or a secret agent, but when we see all the unusually large amount of money we know her to be a thief. I laughed out loud at the dying of her hair from black to blonde like it would be so easy, especially to do that in the hotel sink. We know she has good taste in clothes and she spent a lot of money to create a new imagine of herself with the hotel porter having to carry all of her many boxes. We know time is critical as she is quickly unpacking the store boxes of clothes and put them in her new suitcase all nice and neat. The old items she is going to leave at the train locker. A misnomer to think that is safe there but throwing away the key. Like the train station wouldn't have another key. That was her one mistake. We know her current name and the new one she chooses out of three. Her birth year, 1959 is told, although the film came out in 1964. We know she is experienced with her secret compartments and seems to be alone. How does Hitchcock use Bernard Herrmann's score in this scene? He swirls us around with the music and adds just enough to create a slowly growing climax, but doesn't distract us from watching all that is going on. No words as needed as we are taking the visual and auditory tour until we arrive at the train station. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means? He is telling us unlike 'Psycho,' this thief is different. She is not a first time virginal thief, but one that is practiced and professional. They both are beautiful, but Marnie appears more cultured and polished. He is telling us there is a pretty thief in this film, but that is where the commonality ends. Important for him to do this as we see the same type of blonde and need to know it is not a sequel by any means. This blonde, unlike the others has her hair not only up in a bun, but kind of severe and high. She already has a high forehead so this adds to her height and makes her seem tense, unlike her character in, "The Birds."
  5. 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? Melanie is openly flirting with Mitch and he knows it. He knows more about birds in the store than she does and he goes along with it to see where this may go. We see he looks at her shoes and legs with a smile and then her face in the beginning so we know there is a sexual attraction from him. We know it from her as she looks at him and then decides to check this specimen out further by posing as the store clerk. Nothing heavy outside of why the birds are caged. We learn they like each other as they both keep talking when they both know their cards have been shown. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? There are city/streets sounds, but the birds are louder, but more like normal sounds for the country, not the city. This changes quickly, especially when Melanie looks up to see so many over the park. Funny to have the little boy whistle at her and do a bird call, which makes Melanie stop and smile. The opening scene contains a famous Hitchcock cameo. Describe the cameo and if you think it has any particular meaning in relation to this scene. ​He is done with his business at the bird shop, whether it was successful or not, we don't know as he doesn't leave with any birds. We see him with his two own dogs. We spoke about twos frequently in his film. Soon we see a potential coupling of Melanie and Mitch.
  6. Psycho and repression comments Part Il I keep thinking about Marion and the film. It was very bold and telling that she had a white bra and white slip on in the hotel room. We could still forgive her maybe as we didn't fully know her story, only the things implied. This was before the actual bank crime, but after the affair had been in process. When Norman was peeking at her, she had a black bra and a black slip after the crime. Black vs. white, good vs. evil, pure vs. impure. Reading more about the Italian painting Norman removed from the wall to watch Marion undress and shower was disturbing. Susanna was the a self portrait of sorts as the female painter, Artemisia Gentilileschi(1593 - 1652), painted this after being sexually assaulted by her father's friend in her own home at the age of nineteen. Susanna was naked as she was bathing and two older men were coming towards her "preying" on her. In the Bible the men do continue to bother her and in the Book of Daniel she is sexually assaulted. Marion would be naked in the shower, like Susanna and Norman was preying on her, although not older than her and not a man of power other than he owns a hotel and big house on the hill with his 'mother.' What a disturbing painting, good therapy for Artemisia as she took the older man to court in the 16th Century, but it being so essential to Alfred Hitchcock is both shocking and disturbing as to his psyche. Unlike the "Last Tango in Paris" sexual assault scene again on a 19 year old woman (continues to be have negative reactions by audiences) that scored a "R" rating, in 1960 with the changes happening in censorship the painting had to tell the story. But most of us missed it or didn't know the painting so it was lost on the majority of viewers I imagine. The actual trailer for the film with Hitchcock has the painting brought into the camera as a "tease" for the viewers. The trailer gave it more importance than the film. Important to note, Marion was not sexually assaulted as we know the definition to be today, but she was assaulted with the knife in a violent way. Imagine filming this 45 seconds for one week with 70 shots. Black and white, milk chocolate and still brutal and disturbing. Please note the blog and research sites did not always agree who painted this painting. For further reading see references below and I have attached the painting. Whew ...heavy stuff in this entertainment world. Hitchcock would have been interesting on the psychiatrist couch. References: The Art of Film: Psycho Painting (December 16, 2012). Retrieved from: http://theartofilm.blogspot.com/2012/12/psycho-painting.html Echo stains Blog (date unknown). Retrieved from: https://echostains.wordpress.com/2010/04/22/behind-the-paint-susanna-and-the-elders-by-artemisia-gentileschi/
  7. Psycho opens with title design by Saul Bass and music by Bernard Herrmann ... main themes of this film? The musical score and the graphic design are solidly married as one. If you had no visual and/or no music it just wouldn't work. You can tell the two have worked together prior as they are so in synch with what is needing to be sold to the audience right from the start. The visual is just simply brilliant (using this word a lot in this course) as it to me, represents the mind's fragility and the psychic break Mr. Norman Bates has had and continues to have in the film. Also, Marian has a break from her "normal, successful day job," but we know from the opening scene she is a risk taker and not your normal 1960 working woman. As the titles end, we have three shots of Phoenix, Arizona ...does this shot remind of any other Daily Doses we have watched? ​I believe the three titles of detail places us right in the middle of Phoenix on a December day in the late afternoon. Kind of a lazy, almost vacation-like place with the working day coming to an end shortly. The level of detail tells us that this will be important for later, like the time of a surgery ...or of a crime. We know later this is important as the search starts for her. We also learn from their discussions it is a lunch break. But we can tell it is not a high class hotel room as basics from an IKEA-like 'Hotel are Us" place. Not usually normal to have lunch at 14h43 ...and we see Marion has not had time to eat ...actually. The blinds semi-close tells us something secret it going on inside, yet those inside want to have some visual viewing. Once we see a half dressed lower portion of the man and the sexual look in her eyes, the position of Marion and her Madonna-like brassiere apparatus with her post-coital smile we know where we came into the scene at 14h43. Once more the bed ...what the bed represents with Uncle Charlie, in 39 Steps, in the train with R.O.T. and Eve, with Burt Lancaster ...the massive impact Hitchcock centers on with things that occur while in bed. Of course never for sleeping. That same theme landed with soap operas in the 1960 and may continue now, as so much dialogue and evil betrayals occur in bed vs. couches, backseats of cars, etc. We learn that something immoral has occurred as he is a married, traveling business man and she is a single working woman, maybe divorced, again not common in 1960. We even think she isn't a mother with her perfect body, flat stomach and no signs of pregnancy with zero stretch marks. This is highly against the norm as she isn't super young being 32 years in the film. Most women of this generation started having kids by 18-20 years old. I know Eve Kendall was 26 years old in NBNW, but looked older and acted more experienced too. Their sexual intensity has not decreased since their afternoon liaison (how long have they been there, lunch is normally about noon isn't it??) and it appears that they would need the room for another session until we hear Marion with her guilt and final sayings ...but, we know she has business to take care of at the bank yet from our previous viewings. In the remainder of this sequence, we are introduced to Marion Crane (Janet Leigh) and Sam Loomis (John Gavin). The scene pushed the boundaries of censorship, especially considering our last Daily Dose for North by Northwest was edited for a line of risqué dialogue. Since this is the opening scene of Psycho, how does the hotel room scene function as a way to establish Marion Crane as a main character? Defend your answer. Marion is the bra and slip on of the time, but nothing fancy. She is a natural beauty and has totally been vexed by Mr. Loomis to allow her to have the sexual need to meet in such a place, and several times in the past. I tells us Marion is a risk taker, is tempted, is not married for some reason we aren't aware of (highly unusual for a woman of her beauty), is not honest as having an affair with a married man, may not be religious, is not too fancy as she allows him to take her to a seedy hotel and she has some pull at the bank with her boss to have a lunch so late in the day. I assume banks in 1960 on Friday nights were not open later than 17h at the time of watching this scene.
  8. 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 line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. Cary is just smooth as glass and this role fits him like a glove. He has to be exhausted, scared and hungry, but not too tired for "a long night on the train" with Eva Marie. Eva Marie changed from her previous roles to be sexier, calmer, more demure, powerful, uninhibited. This scene at dinner is quite sensual and playful. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In that sense, discuss how Hitchcock uses the R.O.T. matchbook as an important piece of acting business (or as a prop) in this scene. The sexual attraction of their looks is quite strong and truly seems real and not just for the film. The lighting of the cigarette is to me like foreplay of sorts as it allows them to physically touch each other for the first time. Her pulling his hand back towards her after the cigarette is light tells him she likes to be in control and she is not afraid of him, even if he is wanted for murder. I imagine he wants to forget the brook trout and get out of the dining car ...quickly. He would definitely believe his bad luck is changing. It is weird to me that he has personalized paper matches. If he is classy like his cool suit and glasses, why not have a metal lighter with "R.O.T." on that ...why paper matches as they didn't fit with his overall cool. How is Hitchcock using sound design in this scene? Consider music and other background sounds in your answer. The music to me is there, but not obvious, the non-verbal sexually is the most important with the words second and the music a distance third. Even the scenes from the window are subtle telling us the sun is going down and the day is ending outside, but just starting inside.
  9. Describe ...audience. What you see as the Lissajous figures begin small and grow and that they all had a retina-like image in them--just like the real human woman's eye, but also something more. The perfect figures swirl and twist and change from a mathematical figure-to-a slinky figure-to a kaleidoscope figure ...this tells us things will be evolving in this film starting small and maybe ending poorly. The atmosphere is highly unhealthy, the mood is like you are sick. In your own estimation, what is the single most powerful ...Defend your answer. The Lissajous figure as they stimulate a type of dizziness, loss of balance, nausea, anxiety, soon-to-have vomiting/emesis and a true sense that your world is spinning or moving out of your control ...hey, just like the signs and symptoms of vertigo!! The red is like the flashing red lights of an ambulance, of blood, of negative things going on here, not red for passion. The music tells us it is not passion, but illness. But ...what about those humans and dogs that are colorblind and only see blue? They still need to see the Lissajous figures to get what is going on. Pure genius! How do ...different musical score? Like ebony and ivory, like salt and pepper, like vertigo and illness. The decresendo and crescendo sequences work magically. For Mr. Hermann, this was a very complex film to do the musical score I would imagine. The music could change the whole movie actually if it was upbeat, child-like, chipper, more joyful or even if more like an image you see at a planetarium related to sciences, math and the galaxies ...just unknowns and wonder, not vertigo and illness--whether that be physical or mental or both.
  10. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific. As many as he can fit in: the taxis pull in and turn and stop; one taxi door opens to the left and one to the right; the porter's remove the belongings to the left and right; the train track (love this is a large city as the same in Paris at Gare du Nord) crosses each other; the men walk into the ticket area, one coming from the right and one coming from the left; they enter that particular train car, one coming in from one end (Walker), and the other coming in from the opposite end (Granger); one crosses his legs right-to-left and the other opposite him crosses his legs, but our visual field sees it as opposite, etc. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, to clothing and shoes, to dialogue and speech, for example. Their clothes is a big difference in style, taste and boldness: the shoes DO tell of the men in many ways with Walker's jazzy black and white and Granger's plain dark brown/black; especially the ties with a name "Bruno" clip and lobsters vs. a houndstooth style, and pin stripped suit on Walker and plain colored on Granger. Funny, Walker was 6'0" and have heels on his shoes and Granger looks to be 6'2" or more and also has heels on his shoes vs. the flat we usually see on less fancy men of the time. Guy is quiet and minding his own business with a magazine and Bruno has nothing to do, but talk and talk. He evens saids he isn't a talker, yet continues on and break Guy's personal space by getting up and coming to his side without even asking him if that is okay. Guy is too polite and many people if they need to mediate, read or be a peace would move eventually and make their excuses. This establishes one man appears to be stronger, bolder and more assertive/aggressive and other is polite, quiet and more a follower. Interesting as Guy is an athlete and they usually need to have an aggressive side to be a winner and he was a successful tennis star not just based on his looks. While the visual design gets the most attention typically, how does the Dimitri Tiomkin score function as part of the mood and atmosphere of this opening sequence? Mr. Tiomkin has a brillance for fitting the music exactly to the scene. We see the opening credits in the arch of the train station entrance, the second the words end, we see the taxi coming under the archway. At the same time the music changes during the opening credits to a different rhythm and tempo to show us now ...the film begins. It actually appears light and exciting like we are going on a trip and this is going to be fun. Music had changed so much from the monotone-like music in the Silent Film era. But light, happy, upbeat music can trick us into thinking the film isn't going to have heavy aspects. Like the Griswald family trip in the film, 'Vacation" ...that was comedy, but it wasn't all fun with; a death, alleged incest, animal abuse, elderly abuse, breaking and entering, infidelity, etc. The music in that film also had an impact on setting the mood if we weren't getting the dialogue and actions on film.
  11. What Hitchcock "touches" do you see in this early scene from the movie? As shared in the video discussion, the camera angle that truly makes us feel like we are seeing what Ingrid is seeing from bed ...hungover, tired, crabby and bothered. Again ...scenes in the bed, very heavy into those in many films like all life evolves between or on top of the sheets. Lots of heavy discussion, actors roles that are so sure of themselves and with much fortitude and conviction. How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? Up close and highlighting their beauty and the faces that the camera loves. He is perfectly coiffed, in a suit and 100% sure of his mission to enter her room. She is at first, weak, sleepy, hungover, but she grows stronger and stronger in a crescendo with the camera pulling back more and more until they are evenly matched .. her dress is without a wrinkle, she looks like she could go out into any flashy nightclub and be ready for action, she combs her hair and fixes it to frame her face and then ...she matches him perfectly like a quick checkmate. A brilliant metamorphosis!! Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? Hitchcock is known to be successful and these two actors are at their peak of performance and popularity. It reminds me of today the believe of actors that get to be in one or more Woody Allen or Clint Eastwood films to have the experience and be at the pinnacle of their careers. They are both so beautiful, yet not perfect in there looks as they have such power before the camera. I would say they have always been "nice" on the screen and this is new for them as they are more edgy, there is more at stake and they are broadening their roles like never before. A sexual chemistry is noted as well that was present for the film yet also was a reality in their private lives it seems. Both are my favorites and to see them in so many Hitchcock films continues to be a gift each time I watch them.
  12. Well ...I watched "The Killers," last night, and I believe the opening of this film and the opening of "Shadow of a Doubt," Joseph Cotten is EXACTLY like Burt Lancaster's as far as the theme, the shadows and the type of location!! Film Noir at its very best. Both dressed vs. PJs, both awake and starting at the ceiling in boredom, both men with a flat affect, both doomed and they know it, but resigned to whatever may be (ca sera sera ...where is Doris Day now when they need her?) when we first listen to their discussions with their helpful visitors. The scene similar s the dark room, the men in the same position, both on top of their covers, closed curtains, lower middle class surroundings, which truly mirror each other. The differences are the time of day, and one of them truly wants to live to see another day ...Joseph Cotten gets up and literally walks out and escapes, whereas Burt is finished. His 250K is gone, his obsession with Ava Gardener has been realized once more and he has no desire to live so he chose death knowing it is coming. Dumb decision on the part of Joe to order the hit as the double whammy is he and Ava get caught and one of them dies and one goes to prison. Fantastic!
  13. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? There are secrets ...the maid and the cook or head of the kitchen are wanting to peek inside and know what is going on. There is history as they had an 8-day bedroom vacation, then we learn a 6-day, a 5.5-day, etc. They are stubborn and have not a care for the outside world. We assume they have fought and are 'making-up' in the bedroom and thus the attire, the lack of dressing, seeing other and the plates and plates of old food and glasses. I thought it had the Hitchcock touch of his humor, sexuality and psychological aspects. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? I agree in the fact we jump into a mess between two beautiful people and are curious to know how they got there. I disagree in the fact this is lighter, brighter lightning, nicer decorations, you assume high society with two helpers, the huge bedroom suite, food services, clothing, ability to take off work for 3-days and still have job means he has power, maybe the owner of the business, etc. The film's character's are not lower middle class or middle class like most of his films. Look at the bedroom for Uncle Charlie vs. this film. What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not? Carole Lombard is just adorable and plays well as the pouty, gorgeous wife. Robert Montgomery ...not so sure as I knew him later in films and so my views are colored by this I believe. I need to see the whole film to answer more specifically. He seems to old for the role and not so virgin to the ups and downs of marriage. Although she is in her early thirties, so appears to be a younger wife in the film ...naive, innocent, etc.
  14. I believe it was because "he was not from around here" plain and simple. Politics are everywhere and he wasn't connected with the scene of Hollywood, so he wasn't part of the "in" crowd. If he was handsome and more connected I bet it would have been different.
  15. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. He is posed like a corpse while in bed. He looks dead! This is VERY telling of his downward spiral that is occurring and we get to join him for most of that fall into hell. He knows how to manipulate people as he does his landlady treating him like a little boy. We know that with charm he does manipulate the fat, useless widows he hates to get their money. He has an unusual amount of cash that he doesn't respect, meaning he must have a lot of it as it doesn't seem to matter much to him. Lastly, the guts (or stupidity) to walk out the door so soon and right past the two detectives is brazen and bold knowing he is being watched. ​In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from the opening of a noir film like Siodmak's The Killers? (Note: If you haven't seen The Killers, it is fine to answer this question in general terms about your own personal expectations) Modern theater is an impact in the creation of the film (didn't see The Killers). This specific type of leading man is a loner, a loser, unloved, gritty, cold, unfeeling and monotoned, which fits the film noir classifications. I have to ask though, why is Little Charlie's mother so normal and he would be called a sociopath, with a borderline personality disorder maybe as well. Something must have happened to him in his childhood or later to trigger this mental break ...we don't see what or maybe I missed it? As we move into Hitchcock's Hollywood years, his scores will take on more importance than they did during the British years. Music will play a big role in Shadow of a Doubt. The film's score is by Dimitri Tiomkin, the first of four film scores that the composer will create for Hitchcock. What effect does the Tiomkin score have on the mood, atmosphere, and even the pace of this opening scene? The music is associated with film noir, especially with the table scene. The mood is sober, the atmosphere is depressing and the pace is slow and creates a crescendo as it builds. As he said, "The world is a foul sty ...find swine." The trailer is amazing to make you want to buy your ticket now! Interesting, about a earlier this spring I came home and turned on TCM and this film had started with them already being in Santa Rosa. I missed the opening scene and I missed it was an Alfred Hitchcock film. But i was hooked and stayed up way to late to finish and loved it. Teresa Wright was fantastic!!
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