1. Voyeurism. This word describes an element of a number of Hitchcock's movies. Among these are "Psycho" and "Rear Window" to name two. In the clip of "The Pleasure Garden" compares to these from that point of view. The older man using the binoculars presents that creepy feeling of a man watching a woman lustfully. Along these same lines, Hitchcock, in his own manner, presents beautiful women with their sexy legs. This is a common element in his works.
2. I agree. There are many elements in this opening scene that are introductory to what Hitchcock will bring to the screen in future productions. I refer back to my answer in question number one as a great example of this.
3. No. I feel the dialogue is fine the way it is. Of all the books I have read on screenwriting, a common element they share is the writer is meant to show, not tell, what is going on in a movie. Dialogue is very important, but it has its place. I find Hitchcock has done an excellent job conveying the story with the minimal dialogue able to be provided. From the time our young dancer sees him watching specifically her, she shuns the old man through her facial expressions. No dialogue is needed to understand what she is saying through her expressions. We also know, just through the actions of the older man, what his desires at this time and at the time he is introduced to the dancer. Further, she reaffirms her distaste for him by the brush off she gives him when she hands him the little curl of hair. The dialogue, being three lines between the two of them.
Then with the young lady who is mugged of her letter, her expressions it was evident she was very naive to the dangers of the city. There was no need for dialogue between the two thugs to explain they were after something she possessed. This was accomplished with the shot of her purse. Here Hitchcock focused on it to emphasize their objective. He followed it up by having the guy closest to the door snatch the letter from her.
In both of these scenes, the need for extensive dialogue was eliminated through camera shots and the actions of the characters including their facial expressions. The best motion picture storytellers are able to tell the story with little or no dialogue. Hitchcock did an excellent job of this.
Daily Dose #1: Spiralling into View: The Pleasure Garden (1925)
in The Master of Suspense: 50 Years of Hitchcock
Posted
1. Voyeurism. This word describes an element of a number of Hitchcock's movies. Among these are "Psycho" and "Rear Window" to name two. In the clip of "The Pleasure Garden" compares to these from that point of view. The older man using the binoculars presents that creepy feeling of a man watching a woman lustfully. Along these same lines, Hitchcock, in his own manner, presents beautiful women with their sexy legs. This is a common element in his works.
2. I agree. There are many elements in this opening scene that are introductory to what Hitchcock will bring to the screen in future productions. I refer back to my answer in question number one as a great example of this.
3. No. I feel the dialogue is fine the way it is. Of all the books I have read on screenwriting, a common element they share is the writer is meant to show, not tell, what is going on in a movie. Dialogue is very important, but it has its place. I find Hitchcock has done an excellent job conveying the story with the minimal dialogue able to be provided. From the time our young dancer sees him watching specifically her, she shuns the old man through her facial expressions. No dialogue is needed to understand what she is saying through her expressions. We also know, just through the actions of the older man, what his desires at this time and at the time he is introduced to the dancer. Further, she reaffirms her distaste for him by the brush off she gives him when she hands him the little curl of hair. The dialogue, being three lines between the two of them.
Then with the young lady who is mugged of her letter, her expressions it was evident she was very naive to the dangers of the city. There was no need for dialogue between the two thugs to explain they were after something she possessed. This was accomplished with the shot of her purse. Here Hitchcock focused on it to emphasize their objective. He followed it up by having the guy closest to the door snatch the letter from her.
In both of these scenes, the need for extensive dialogue was eliminated through camera shots and the actions of the characters including their facial expressions. The best motion picture storytellers are able to tell the story with little or no dialogue. Hitchcock did an excellent job of this.