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GigiGirl

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  1. I have seen "The Killers" only a few times, so memory of opening is just not there. But I have seen "Shadow of a Doubt" at least 100 times (not exaggerating), and the opener not only has all the style of noir, it is signature Hitchcock -- we know everything we need to know about Uncle Charlie in the first three minutes and from there, his insinuation into his "family" in Santa Rosa is cringe-worthy anxiety through to the very last scene. We learn that he abhors humanity; he doesn't care about anything, evidence the money strewn all over the floor. He is casual to a fault. And he has no feeling
  2. Last night I dreamt... Rebecca is my absolute favorite Hitchcock film. The beginning narration of Joan Fontaine voice, and her dream, always gives me the chills of anticipation and anxiety, no matter how many times I watch this movie. Which, by the way, is probably about 100 or more times. That first dolly shot taking us down the overgrown drive is the first giveaway of the Hitchcock touch. Yet, it is different than openings in previous Hitchcock films. It has a more gothic air, with the mist and the shell of a mansion, and of course we want to know what the heck happened. It has a much slower
  3. I love these Hitchcock opening scenes where there's always a crowd in some kind of situation, which appears all very normal, except for one slight snafu, such as an avalanche! I'm still not understanding the psychology of this type of device for the audience, but I'm just beginning this deep dive on Hitchcock, and I'm certain, this course really only scratches the surface. I digress -- except for the avalanche diverting the travelers, the tone is lighthearted, and very British. Enter Caldicott and Charters and for me, they steal the show. Right away, we have the comical counterpoint to balance
  4. Similarities to Pleasure Garden, et al - crowd scenes as openers, or at least in the first few minutes. Hitchcock is lulling us into normalcy, the mundane. What could possibly go wrong when there's a crowd of people around. North by Northwest is my favorite in that respect. Peter Lorre, when he's knocked over by the poor doomed skier, is laughing when gets up, dusts off, until he sees the skier. As another student in this thread said, he facial expression turned on a dime, and we see the quick and easy switch from laughing and joviality to just plain sinister. I've seen both versions of this f
  5. Alice is clearly in trouble mentally and emotionally, and with the lack of a musical track, Hitchcock's use of conversation, tonal variations, sound effects (store bell ringing) convey her distress possibly better than any music track could. We're so accustomed today to having music tracks guide our viewing of a film--and our emotions and feelings about it. Movie soundtracks are their own industry (revenue, awards, etc.) so I'm guessing that this has a lot to do with the fact that we don't see this kind of cinematic device anymore. But in Blackmail, (which I haven't seen yet, but will this wee
  6. Completely forgot about Rebecca!! Might be my favorite, or at least tied with The Birds.
  7. I love the phrase "impending doom." That's exactly how this POV makes me feel, I just couldn't find the right language! Thank you!
  8. The absence of a soundtrack threw me off a bit. I've never seen Downhill, so I watched this clip several times. The POV shots, the tracking, puts me IN the film; rather than observer, I feel like I am in the scene. There's also a kind of suspense, or suspension of belief, in this device.
  9. It's amazing. Without using words (sound) Hitchcock gets us right into the head of the main character, the champion in training. I couldn't help notice the humor in that throwaway line about training for a divorce. The brief scene we viewed is chaotic, intense and very sexual. The two female dancers infer lesbian trysts, a man forcing some liquor on one of them brings the scene to a different level of sexual tension and the portend of violence. And getting us into the subjective POV of the champion in training is very effective with the montage view of his wife sitting on the lap of the other
  10. Hitchcock's use of music in "The Lodger" is what first struck me as a strong example of the "Hitchcock style." I'm thinking of Hitchcock's 1956 version of "The Man Who Knew Too Much." Doris Day's creepy "Que Sera Sera" is all over that film, together with the sound design, it really drives the suspense and the tight emotions that follow. I got that same feeling from the music in "The Lodger." The scream: there is nothing like a silent scream to disturb one's sensibilities. The way Hitchcock frames the woman's face -- very close in and askew -- throws the viewer off even more. I can't help but
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