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  1. The opening of Frenzy is reminiscent of that in The Lodger, though it unfolds quite differently. In the Lodger, the scene begins with a scream by an apparent witness to murder, which, in turn, mobilizes the police and the press. In Frenzy, the opening begins with a bird's-eye view of London and slowly reveals a street scene of a speaker with an audience that includes the press (and Alfred Hitchcock, as well). The scene is interrupted by the floating corpse. This scene includes the Hitchcock touches of a public setting, pov shots and the overarching sense that evil has invaded another or
  2. In the opening scene, Marnie is revealed to be a deceitful character, but one who values quality 'things'. Marnie gently folds and places her spoils of finer clothing, including white gloves into the nicer suitcase, while disposing of her other clothes. Does she find identity in objects, or worship them? As noted in the lecture, Marnie does seem to be channeling Marion Crane from Psycho -- the social security card she was using was even issued to a Marion. (As an aside, people in earlier times did carry their social security cards, something people would hardly ever do today out of fear of
  3. The opening scene to the birds introduces Melanie to Mitch to one another through a chance encounter, a momentary misunderstanding, a game of pretend and a flirtatious go-along, all ingredients of romantic comedy. We learn that Melanie can be patient (with the ditzy sales clerk) and can take the initiative (with Mitch), suggesting that she is probably not attached. Mitch, who makes a breezy entrance, probably quickly realizes that Melanie doesn't know what she is talking about as far as birds are concerned, but enjoys the encounter, suggesting he might be interested. The sound design, wi
  4. Bernard Herrmann's score, with all strings, no brass, mimics screeching, and Saul Bass's title design also suggests piercing. The score and title design work perfectly together. The establishing “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” titles tell the audience that the events that are about to unfold begin during working hours shortly on a Friday shortly before the weekend begins. The shot is reminiscent (as others have pointed out) of the beginning of Rear Window -- the audience is a collective voyeur into an illicit relationship at a seedy hotel. This opening
  5. By this film, Cary Grant had already made three other films with Alfred Hitchcock, so was more than vaguely familiar to the audience. Eva Marie Saint was also a huge star, so the audience is drawn to their celebrity as well as to the film itself. The bits in this scene (e.g., Thornhill wearing the sunglasses, looking around nervously and the ROT matchbook) break up what is really a static scene of dialogue. The matchbook also also serves to further open the door to dialogue that is filled with double entendres. Separately, I wonder if the "O" (which Thronhill says stands for nothing) i
  6. Focusing just on the sounds and images of the opening credits, there is an overwhelming sense of dread, and of a haunted soul. It's interesting that that the score includes a blast of horns when specific credits appear, almost to suggest that people are at the root of the pain. . To me, the the single most powerful image in this title sequence is the closeup of the eyes with the red tinting of the frame. With the score, there a suggestion that there is something terrible in the mind behind those eyes. The Saul Bass’ images and Bernard Herrmann’s score work together seemlessly to c
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