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startspreading

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About startspreading

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    Advanced Member
  • Birthday 07/21/1993

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    http://www.criticaretro.blogspot.com

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    Female
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    Brazil
  1. Hi! You can find the estimated budget of some movies on IMDb. For instance: Broadway Melody (1929): $379,000 Gold Diggers of 1933: $433,000 Top Hat (1935): $609,000 The Wizard of Oz (1939): $2,800,000
  2. 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. The opening of “The Lodger” is more straightforward. The murder is the first thing we see, and the score is suspenseful since the beginning. In “Frenzy” we have a nice score, that makes us feel welcome to London – it’s a very English-like score – and a speech. The dead body is something that breaks the pace of the speech – after all, the man was talking proudly of how the river was going to be clean, and suddenly a dead body appears floating.
  3. By the way, here it is the full line-up of the films covered: http://doriantb.blogspot.com.br/p/best-hitchcock-movies-that-hitchcock.html
  4. Years ago classic film bloggers wrote about "the best Hitchcock films Hitchcock never made". My film was Truffaut's Confidentially Yours and there are some Hitch references: http://criticaretro.blogspot.com.br/2012/07/de-repente-num-domingo-vivement.html
  5. 1. 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. Well, she’s fake. She has four social security numbers, with four different identities. She is changing her clothes from one messed up baggage to another, tidier, and selecting only the best clothes We can imagine that she has multiple personalities, and Margaret ‘Marnie’ Edgar is the fancier one. We can definitely tell something is wrong with her. 2. How does Hitchcock use Bernard Herrm
  6. 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? The shopping windows remind me of a romantic comedy that came out the same year as “The Birds”: “A New Kind of Love”. The architecture of the pet shop reminds me of the bookstore Audrey Hepburn works in “Funny Face”. The tone is playful, and Melanie even smiles when someone whistles. A mistake about schedule makes Melanie meet Mitch. He mistakes her for a clerk, and she plays along. Th
  7. 1. 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 score is a tense one, and makes me think of running away and being sought after. The title design reminds us of windows, of dismemberment – maybe of a dead body – and of putting the pieces of a puzzle together. Together, they gave us a sense of voyeurism and of suspense – we’re about to witness a crime and we’ll be invited to help the cops
  8. 1. 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. The playful sequence is possible due to the amazing star power Cary Grant had – one that would impress even an Oscar winner like Eva Marie Saint. After “I look vaguely familiar”, he continues the joke with: “You have the feeling you’ve seen me somewhere before. I have that effect upon people, it’s something about my face”. To whi
  9. 1. 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. The woman’s face makes me think of obsession. When it turns red, I can think of tragedy, doom. When the spirals come to the screen, I think about falling, being trapped, entering a labyrinth. From then on, I only feel dizzy, like I’m falling into a pit without
  10. 1. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? The opening is our invitation to peek in that neighborhood. We could think it’s Jeff’s POV, or his nurse’s (played by Thelma Ritter), but since she is not there and he has his back to the window, it’s our POV – the first time we see something the characters are not aware of during the film. 2. What do we learn about Jeff in this scene without any
  11. 1. 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. The most obvious way is by showing the train tracks crossing. I can perceive also a cross between instruments, or two different melodies in the soundtrack. They also don’t cross paths until they are inside the train – for instance, they don’t pass the gate one after the other,
  12. 1. What Hitchcock "touches" do you see in this early scene from the movie? I see that Alicia is a heroine left to fight with her own resources. The same goes for Devlin, even him being a spy! As a narrative, this scene doesn’t have much of the Hitchcock touch. Also, Devlin sounds like devil. A word play, perhaps? 2. 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? The first thing I noticed were the s
  13. 1. 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? I can recognize a playful score and a lavish set. Mr and Mrs Smith, as their own names show, are an ordinary couple. By the props, we can see that there has been a fight – it’s not a normal apartment, but one full of mess, with the wife sleeping alone in the bed and the husband playing cards. She is particularly mad, but wants to end the fight an
  14. 1. 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. We can see that he has a lot of money – so far we don’t know where the money comes from. He seems to accept his fate, but when the landlady leaves he becomes nervous and decides to run away – he’s guilty of something that we’ll only know later. And, well, I love his “hiding in plain sight” moment! 2. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, w
  15. 1. Describe how this opening is different from the multiple opening scenes you have seen in the Daily Doses from the British silent and/or sound period? The most obvious difference is that all the openings in Daily Doses have happened in crowded places, whereas the opening of Rebecca happens in a far-away property. It also has a voice-over narration, something new. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? Although it’s not one of the elements of the “touch” described by Phillips, I see that we share the poin
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