Jump to content
Search In
  • More options...
Find results that contain...
Find results in...


  • Content Count

  • Joined

  • Last visited

About Vtxplant

  • Rank

Profile Information

  • Gender
    Not Telling
  1. We meet Abbott as he picks himself up from a brush with calamity. He has a lighthearted reaction to being knocked off his feet. He could be upset, but instead he laughs. Is he sick man, we wonder, since he's attended by a nurse. He also manages to poke fun at his English, as we also learn it's new to him. When he meets the ski-jumper there's an awkward air. Maybe they know each other? Since I saw the whole film before repeatedly watching this scene ( and thinking about the introduction to Abbott), I know he's a key character. Lorre shows us an antagonist with a light touch, who doesn't appea
  2. In the scene we studied from Blackmail, I'd like to comment on three elements of Hitchcock's sound design. At the beginning of the scene a the soundtrack is filled with a customer's patter. All this conversation is exuberant, it's as if we're making up for the silence of all the movies that came before. When Alice enters the phone booth, she is bathed in a silence that contrasting with the voices in the shop. In the phone booth Alice can organize her thoughts in the refuge offered by lack of sound. For the next technique, one word is intelligible, knife, while any other words are gradual
  3. The movement of the students in the headmaster's office is captured by tracking shot. We can study their faces as they approach. The pressure of the meeting increases as the students near the desk. In the first view of the room, the headmaster appears small and distant, lost in a corner of the office. Though he's not moving much the tracking shot of him makes him grow larger in the frame. His seriousness, as shown by his face and carriage, becomes apparent, and likewise captures our notice. The tracking camera is also used when the woman approaches the students, and her face grows la
  4. The young fighter in a room with his manager glimpses in the mirror a wild party. He's not entirely distracted from the serious plans presented to him, but he sees (or imagines) his wife cozying with his opponent! Now we cut to the party, and it's raging. Two dancers inspire the revelers. Everyone in the room is moving. The young challengers wife nearly hangs on his opponent. She seems transported by this new man. A glance at her husband through the looking glass momentarily deflates her mood. Sober thoughts are quickly routed by dancers and the party's wild air. From her intimate conversat
  5. A reporter takes notes as the witness is interrogated by a bobby. As she relives her experience for the crowd at the refreshment stand, the reporter calls in his story. There's not a moment to lose. Next we're shown the newspaper being created and distributed. We gather with editors around the teletype to learn details of the crime. This intertitle, the wire report, explodes with narrative. The news factory hums with human and mechanical activity. The news rush continues. As the paper hits the streets, news sellers are mobbed. A benefit of this crime? Fear sells papers.
  6. Our attention was directed to the dancer Patsy Brand by sharing her admirer's effort to focus on her. In reaction to his attentive stare, she is discouraging and dimissive - she even 'makes a face'. Even before they meet, we sense she knows how to handle stage door Johnnies. Before she knows why Mr. Hamilton calls her over, she is cooperative, a common response to your employer. We've met Patsy and have seen two sides to her job. Outside the theatre Hitchcock shows us what draws the attention of the two men by the door. They see a purse rather than the woman holding it. What I find comm
© 2022 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...