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LThorwald

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  1. 1. Well the opening of both films deal with the discovery of a dead woman. The differences between the two films, separated by 45 years, reflect advanced film technology and Hitchcock's evolution as a director. The latter film has a rather majestic soundtrack, which accompanies an impressive aerial shot of London, flying over the Thames, under the Tower Bridge, etc. We are meant to be impressed with the the size and scale of London. In The Lodger, London feels close, seedy, fogged in. 2. Many Hitchcock openings introduce us to leading characters, and that is one thing that this fil
  2. 1. I've seen this movie twice before, but I never noticed how well this first scene works. What we know about Marnie is that she is a secretive woman, and not only comfortable but adept at changing her look and identity. The many close-ups of objects, handled with such precision and care, show us that this is clearly not the first time she has changed things up. It is interesting how many of these objects do evoke earlier Hitchcock films, something that must be deliberate. 2. Herrmann's musical cue begins with a repeated motif that evokes a feeling of intrigue or suspense. It build
  3. 1. The opening is a "meet cute", which is pretty standard form in a romantic comedy. There is maybe just a slight hint of foreboding in the circling birds outside, but otherwise the tone is very light overall. Melanie and Mitch are clearly attracted to one another, and there is a slightly flirtatious tone to the dialogue. We learn that Melanie is willing to play assume the role of an employee of the store, just to have a little fun. And Mitch is charming and intelligent. 2. The bird sound is used almost in the way that musical cues could be used to aid in the overall mood. When the m
  4. 1. The titles of Saul Bass and the music of Bernard Herrmann work perfectly together, just as they had twice before. The here is off-putting; the viewer is a little unnerved from the very first sound and image. White titles on a black screen, and the way the lines of print are jagged, and move back and forth, is very like the slashes of a knife. The strings of the violin act as a counterpoint, with sudden strong sounds that are very knife-like in their own way. If I had never seen this movie before, I would be expecting a movie with violence, and a movie that would keep me on the edge of
  5. 1. Our pre-existing knowledge of Cary Grant and Eva Marie Saint as stars adds a layer of depth to the scene. One could imagine that Cary Grant would attempt to travel incognito on a train, much as his character is doing. Eva Marie Saint was already an Oscar winner by this time but was not nearly the star that Grant was. She is seducing him, and her attraction is clear, but her motives are not. One could imagine a beautiful young actress being attracted to the older male star, something that has happened many times in fact. Particularly watching it now, so many years later, one can apprec
  6. 1. This is an interesting exercise, having seen the film several times. So I focused on the sounds and images, and the feeling I get is that a woman is going to be in trouble or threatened in some way, perhaps by viewing a crime or something of that nature. I also sense a psychological element. 2. The single most powerful image is the close up of the woman's right eye. Imagine seeing that in a movie theater, encompassing most of the screen. It is while the camera is focused on the eye that the image suddenly shifts to red, which is a bit startling at first. The color red is not only
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