Marti747

1. Now that you have seen multiple openings to Hitchcock's British films, how does this opening both fit a pattern you have seen previously as well as deviate from other opening scenes? This one is similar to the others due to the bright sign lights (The Lodger) and the entertainment going on (The Ring). It deviates from the others in that it is more lighthearted; nothing to stir up emotions in the viewer. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous opening sequences of his films? Yes, Hannay seems like an ordinary everyday character. 3. Reflect on the role of yet another public space opening a Hitchcock film--this time a music hall--the prominence of a performer (Mr. Memory), and the reactions of the audience in the film to Mr. Memory's act. How does these on-screen elements play into the Hitchcock touch as described by Gene Phillips? The opening scene allows us to see an ordinary man attending a show with average town people. They are amused at the entertainer and freely talk back to him. The main character even gets in on it. This gives the viewer an inside look in to the character of Hanney and although fun and laughter is going on, we know something sinister is about to happen.

1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? (It is fine to make an informed guess about the 2nd question if you haven't seen the film yet) Definitely the characters. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later in the film? You learn so much about his character in this opening scene. You see that Peter Lorre is kooky which endears you to him but that changes once you see his reaction to the skier. 3. We saw two opening scenes from Hitchcock's silent films in the Daily Doses last week (The Pleasure Garden and The Lodger). How is this opening both similar and different from those two films' opening scenes. Similar: A bit of humor thrown in. In the Pleasure Garden it was the old man stepping on another's feet; in The Lodger it was the man making fun of the woman describing the man she saw. Different: TMWKTM involves a family as opposed to individuals. It is also a spy thriller as opposed to a murder mystery and melodrama.

1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. Only being able to distinguish the word knife was brilliant. Every time she heard the word her facial expression changed. This showed us the extreme dread Alice was feeling. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, how does Hitchcock set up the shot where the knife flies out of Alice's hand so that it registers a shock in his audience? Pay attention to both what is happening visually and aurally. Be specific. Hitch sets up the scene putting another knife in Alice's hand. With the word knife getting louder in Alice's head the shrill voice of he lady speaking makes her jump and fling the knife. 3. Why do you think this particular use of subjective sound is not used frequently in cinema? Todays cinema is more visceral than cerebral. It is made strictly to entertain without much thought.

1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? I loved it. It gives you the sense you are walking toward your doom as the boys felt. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? Comparing it to other points of view it would not be nearly as effective in portraying the feelings Hitch wanted to provoke. 3. What connections (visual techniques, images, motifs, themes) do you notice between films that came before this (The Pleasure Garden, The Lodger) and a film that came after it (The Ring)? Please cite specific examples. The use of the close up is used in all 4 clips; the dancing girl's glaze in The Pleasure Garden, the murdered girl's scream in The Lodger, the boxer screaming for his wife to stop at the door in The Ring and the young woman telling her story in Downhill. There is also a running theme of someone in distress at the beginning of each film. A girl with no money, a woman killed, a jealous husband and a pregnant single woman.

1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The expressive editing used was the fun house mirror effects as well as the scenes where the wife and other man were superimposed over the mirror and next to the husband's manager. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock uses to create that feeling of subjectivity. I found the most subjective shot was the music playing; the piano, the ukuleles, the playing record; giving us an idea of all that was going through the husbands mind. He was dizzy with jealousy. 3. How does Hitchcock stage the action, use set design, and editing techniques to increase the stakes in the rivalry between the two gentlemen? His use of the mirror was great as it allowed us to see what was going on in each room from different points of view. The wife looks in to see a husband that she thinks doesn't care for her anymore, although he does and the husband sees a flirting wife even though she seems very uncomfortable.

1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see It appeared to me that the murdered girl may be a showgirl, Golden Curl, which would be the similarity to Pleasure Garden. The difference would be the Lodger is darker and starts off with a murder as Pleasure Garden didn't come on as strong. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of emotion? The opening scene of the victim screaming is what draws the viewer in and grabs their attention. Also adding a little levity is a Hitchcock staple. ​3. Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? The inaudible scream works due to the music and the terror in the actress' eyes. Other screams that come to mind are Psycho and The Birds.

Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Yes I would agree that hints of what was to come in the way of Hitchcock’s masterpieces can be seen in the opening act of The Pleasure Garden. Specifically, I enjoy watching the secondary members of the cast as they bring a bit of humor into the scene. Also, the use of the spiral staircase; incorporating almost a 3D effect for the viewer as he would later do in Vertigo. 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 agree with their assessments. Hitchcock brought some humor, sex, mystery and mesmerizing camera angles to his directorial debut. 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? A well done silent film is coherent even without spoken dialogue. In the opening scenes of The Pleasure Garden, there was nothing I missed by not hearing any of the characters speak their words. I could tell that the stage manager was sheisty by the way he smoothed out his mustache and the dancing girls expression of disgust at the old man oodling at her from his seat spoke volumes.