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

IraH

Members
  • Content Count

    14
  • Joined

  • Last visited

About IraH

  • Rank
    Member

Profile Information

  • Gender
    Not Telling

Recent Profile Visitors

322 profile views
  1. In the opening scene, the whistle by the boy on the street before Melanie notices the large flock of gulls in the sky gives a lighter tone to the incident. Melanie pretending to be the saleslady, the playful banter between Melanie and Mitch, and Mitch going along with the pretense gives it more of a romantic comedy feel, especially since he is looking for a pair of not "too demonstrative" lovebirds. It is clear that both Mitch and Melanie are demonstrating their interest in each other. The sound of the gulls heralds the events to come. It helps to focus us on the birds. The birds are quite
  2. Herrmann's musical score is very jarring and anxiety producing. Bass's graphics are like slashed ribbons sliding, then thrashing, against each other to the music. Both work together to bring about a sense of unease in the viewer before the story unfolds. The specificity of the day and time give you the information that it is a regular working day, during work hours. When we see the closed blinds, we know something is going on beyond that open window which we are not invited to see. It is like the closing of the blinds in "Rear Window", and it gives you the impression something secret, perh
  3. It is interesting that two well known stars - actors that Hitchcock chose because of their star power - are sitting discussing the vague familiarity of Cary Grant. Roger Thornhill initially lies about who he is, and is called out by Eve, who is aware of him through the newspapers. He's an advertising man who puts his initials on a matchbook, spelling "rot" with an O that "stands for nothing" by his own account. It is an interesting way for him to advertise himself. Regardless, Eve makes sure it is known she doesn't care about these things by grabbing his hand and softly blowing out the mat
  4. The opening sequence focusing on the parts of a face abstracts the beauty of that face into its parts for consideration. I think it is clear that Hitchcock wanted the viewers to see only parts instead of the whole. You are led to believe the face will be an important part of the story, yet you will have to piece it together. The change of color from black and white to red and "Vertigo" appearing from a widened eye was very powerful. It shifted the feeling while watching the opening sequence from mere interest to apprehension. The Lissajous figure appearing in the eye then proceeds to give
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...