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Chris_Coombs

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Everything posted by Chris_Coombs

  1. A list of directors and films inspired by Hitchcock would have to unclude Brian DePalma films, like Blow Out, Dressed to Kill, and Sisters. Everyone is going to say Charade, and I will too. Francis Ford Coppola's The Conversation has many things that reminds me of Hitchcock. Clint Eastwood's The Eiger Sanction also reminds me of Hitchcock - a spy thriller, with humor, with a climax in a famous location, The Eiger. High Anxiety is obvious. And now a word about Psycho II. This film is much better than people might assume. For a film that was a sequel to one of the most iconic
  2. Who would be Hitchcock's 'Bernard Hermann'? John Williams. Hitch already worked with Williams on his final film, Family Plot. We know Hitch would reuse people. Williams is a masterful composer who can tackle any genre, so we know no matter what Hitch wanted Williams could create. We know the power of Bernard Hermann. Think of Psycho without his score. The same is true of John Williams. Think of Jaws without HIS score. Williams had done spy thrillers (his score for The Eiger Sanction is wonderful), Gothic Horror (Dracula) Sci-Fi Thrillers (Minority Report), Political Dramas (Muni
  3. My question for Prof. Edwards and Mr. Philippe: Which of the typically neglected and/or overlooked Hitchcock films would you recommend for reconsideration by an audience? Is there one particular film more than any other that you feel deserves a second chance? - Chris Coombs
  4. 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 The Lodger, Hitchcock’s first thriller, started on the close-up of a scream, and then to the revelation of a dead body, surrounded by a crowd and police. Frenzy starts with a great helicopter shot over the city of London, down (or up?) the Thames towards the iconic Tower Bridge, The music score is very stately, and Hitch is clearly establishing a British feel to this film – a feel that would last throughout the entire picture. Tower Bridge r
  5. 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. The close up of the bag indicates it is something important, and since we are in a Hitchcock film that means it is also something of an illicit nature. We see only her back, which tells us this is a person of mystery. There is something unknown about her, something which will be explored in the film. We see her packing a suitcase with newly purchased clothes and accessories – gloves still in
  6. 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? When Melanie ‘plays’ at being a pet shop worker is more similar to romantic comedy, which often have scenes where characters mistake the identity of a person and the person plays along. In ‘Kingdom of the Spiders a visiting scientist mistakes William Shatner for a gas station attendant. He plays along for fun. While that is a horror film it relates to the romantic comedy aspect of the fi
  7. 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 graphic design consists of gray lines sweeping across the screen, dragging the credits behind them, and dragging them off. It creates a disturbing tone right away for several reasons The lines and credits come from any direction – it is unpredictable, and that creates tension. It also hints that the film ahead will have unpredictable, distur
  8. wow... getting that video clip to work was harder than buying a house with no credit. But I was so interested in the subject that i felt it was worth it
  9. i think i fixed the link. I didn't know you had to use the 'link' button above the text window. i just typed in the link. MY BAD, it should work now if you're still interested! I hope you are.
  10. [this is a partial quote of my daily dose on Saul Bass' credits for Vertigo.] I became so intrigued thinking about the relationship between Bernard Hermann's wonderful score for Vertigo and Wagner's 'Liebestod' from Tristan and Isolde that I made a video (just for fun) replacing Hermann's music in the climactic transformation scene with the Wagner. https://ccoombs1964.wixsite.com/cinemachris/homework In Wagner's Tristan and Isolde the two characters' love remains unfulfilled until First Tristan and then she (Isolde) dies and their love can finally be consummated. Isolde sings this
  11. 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 Grant was a HUGE star at this time, ane people come to expect certain things from him: They expect him to be suave, charming, sophisticated They expect he will become involved in a romance They expect he will be a decent man They expect he will be the male lead They expect a certain amount of charming humor Cary is indeed
  12. Though discussing the opening, this post has SPOILERS. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. This opening is one of the greatest openings ever! The film starts with the Paramount logo, followed by the Vistavision logo, but in Black and white. The music starts with the Paramount logo, and not AFTER
  13. I see Anchorman as more of a satire than a spoof or parody. Allen's Bananas was a conceptual parody with it taking elements of a genre and putting them into different settings (like taking a supply raid and setting it in a sandwich shop). Young Frankenstein was a loving parody of the classic Universal monster movies. ZAZ was a zany parody of spy thrillers with it's visual puns and verbal gags. Anchorman however, isn't really a parody or spoof because there is no real genre of TV reporter movies. There are many reporter films, like His Girl Friday, Deadline U.S.A., and Five Star Final, but Anch
  14. Abbot and Costello Meet Frankenstein was made at the end of Universal Studios run of monster movies. It was as if there was nowhere else to go but comedy. In that way it is different from Young Frankenstein, because the latter could look back with nostalgia at the classic films, and parody it. Abbot and Costello Meet Frankenstein was just that - a meeting of two current genres: An Abbot & Costello film and a Universal Monster movie. I have only seen parts of Anchorman, but it seems to be more of a satire of certain attitudes of that era of the 70's (such as sexual discrimination, self
  15. The Naked Gun (and Police Squad, the show it is based on) take traditional elements of the Police Drama format and turn them on their head: The cop quickly pulling into the parking spot - in this case he always hits something, like the garbage can The cop getting results from forensics - in this case the gag with the microscope, walking around the set wall, etc. The cop voice over - in this case relating calm information as the chaos of the car gags are in the background. The cop getting a new device - in this case the swiss army shoe and cuff link darts. The series, a
  16. Bananas was the only Woody Allen film I have seen other than Manhattan. Of course in Manhattan the comedy (and drama) was more emotional (and cerebral) so it was a experience seeing this earlier, wilder film. But I could see elements of the latter in parts of Bananas, like during the early scenes of Allen and the girl together. Young Frankenstein is a film you can't say enough about. It is an almost perfect film, and I would say it is definitely one of the top five comedies ever made. It's up there with Strangelove. The Three Musketeers (and The Four Musketeers) are wonderful films and
  17. Young Frankenstein parodies the classic Universal Monster movies very well. This clip is a parody of scenes we see in many films, where the scientist is first seen demonstrating his expertise: performing an operation, or an experiment, or lecturing a class. Think of Dr Waldman's lecture at the college in Frankenstein. He discusses with his students the difference between a normal and abnormal brain. It is often the case that the scientist in such horror films are introduced in this manner, and that is how Froderick Frankenstein is introduced to us. The film moves between broad slapstick (t
  18. The scene is a parody of a couple things: First, it is a parody of a war film which often has a scene where a group goes on a raid. In this case rather than a covert attempt to raid a warehouse or steal supplies from a town, he goes to the sandwich shop. Secondly, it is a parody of an ordinary sandwich shop scene, which we see in hundreds of movies. But in this instance he he placing an order for 1000 men. The humor of the joke is first in the specifics of the order ("One of those is on a roll") and secondly in the casual way the shop owner takes the order, as if it is nothing unusual. Vis
  19. I believe the time of the film was 1908. So that is around the time women were fighting for the right to vote, which they got in 1920. In the Great Race Maggie and Mrs. Goodbody were suffragettes, which is a movement of the silent era which also paralleled the sixties women's rights movement. So the film reflects the ideas when it was made while also echoing back to the times of the silent era. It does not really predate the era of silent film, rather it is set at the beginning of that era. We saw the first silent film in our studies was 1896 and Keystone Studio was founded in 1912, and Ch
  20. The Great Race is not only an homage to classic slapstick, it is set in the time period of the beginning of slapstick, taking place around the time of Keystone and Chaplin, between 1910s and 1920's. It harkens to the days of early cinema even in the credits with the hissing and booing of the bad guy, and the cheering of the good guy, and the time period music played on the piano, just as a piano would accompany silent cinema. It feels like a live action cartoon, I would say clearly more Road Runner than Bullwinkle. We see Fate continuously trying to thwart Leslie with devices and contrapti
  21. The Great Race was an homage to the old slapstick films. It presented a clear good guy (all in white) and clear bad guy (all in black, with the mustache twisting). Running with that was a modern element - the equality of women - which was big in the 1960's but also echoed back to the 20's with the suffragette movement. Even the credits, with hissing and cheering, seemed to recall the old days. The pie fight (and the bar room brawl) are iconic slapstick things which it payed tribute to, and tried to out do. The running gag of Leslie remaining immaculate throughout the fight is one of the t
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