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Suj

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  1. 1. It has a long dolly shot of London which you don't have in The Lodger. it's in technicolour not in black and white, there's no scream, the murder victim is visibly already dead whereas in the Lodger we saw the victim being strangled 2. The long dolly shot as in the Psycho opening scene, the crowds listening to a speaker as in The Lodger, man informing the audience and the people in the film about the dead body as the woman does in The Lodger, the people being close to the river. it's an outdoor scene as in The Man Who Knew Too Much and The Lodger. 3. He chooses a setting and inform
  2. 1. that Marnie is a fraud. She has multiple identities as we can see from her social security cards; that she has stolen money; has bought a lot of clothes and accessories; she's a brunette (and not yet a blonde) as we first see her but then she washes the dye off and becomes a blonde; that she loves new clothes and accessories and finally that she changes ID and leaves all the contents of the life she is leaving in a locker at a station and throws away the key. Without any dialogue, we find out a lot of about her character, through Marnie's interaction with the objects and her actions. 2.
  3. 1. Yes, it is a light-hearted scene with a background of threatening bird sounds. Rod Taylor mistakes Tippi for a sales lady in the Pet shop and although he catches her out when she tells him about the "red birds" and he asks her "Aren't they strawberry finches?" she carries on regardless as she finds him attractive and doesn't reveal that she is not the sales lady. He too seems to not realise that she is not the sales lady in spite of her lack of knowledge. 2. The sound design is very different from his other films. No music just bird sounds as Tippi walks along Union Square and into the
  4. 1. The graphic design and score match perfectly. The music is dramatic and thrilling and the graphic design is linear with letters for the credits. At one point the film title breaks up hinting at the split personality/schizophrenia which will be a subject of the film and the same thing happens to Alfred Hitchcock's name. The graphics seem to dance to Hermann's music score. The word Psycho wouldn;t have shocked the audience as they would know this was the title of the film before they came to the cinema so the music helps to unsettle them and to expect something scary or weird to happen. 2
  5. 1. Cary's line that he looks vaguely familiar would make the audience laugh as he is Cary Grant and familiar as a star to the audience but of course in the film he means that his face is known for being in all the newspapers.This line therefore has a double meaning for those who know Grant as a star. Eva Marie Saint also being a star, makes the audience find her familiar too and would instantly feel comfortable watching this daring scene between the two stars. Grant looks shifty and uncomfortable not only because he is worried about being watched or caught but also because he doesn't know whet
  6. 1. We know the film will be about a woman, love, vertigo from the title. Perhaps less about the obsession that James Stewart will feel towards Novak. 2. The most powerful image is when we see the spiral which appears soon after the title Vertigo appears in the eye. It draws you in and makes you feel quite queasy and mesmerised at the same time! 3. The dramatic repetitive music echoes the repetitive turning of the spiral and reminded me a bit of the song "The windmills of your mind" or in French of "les moulins de mon coeur" in its endless repetitive sound. A light-hearted score would n
  7. Forgot to add point 4! 4. I definitely think this is Hitch's best film and his most cinematic.His attention to visual detail, the props to convey information about the character, all visual with no dialogue in the opening scene, the POV shots of the room as he did in Mr and Mrs Smith tells the audience a lot about the character and the setting.
  8. 1. That there is a whole world out there with many little sub-plots: the composer shaving in his apartment, the couple sleeping in the balcony, Miss Torso having a shower, the cat in the courtyard, the milkman leading us into the main street. Hitch pans the camera across the whole scene and thereby introduces us to what is going to be Jeff's world for the next few hours. 2. The camera shots show the audience where Jeff lives, in a New York apartment facing a courtyard and another building in front full of neighbours in residence. It also informs us without any dialogue that he's a photogra
  9. 1. Criss cross: The tracks or rails criss-cross more than once (twice I think). The two protagonists paths cross more than once. Bruno leaves the taxi from the right side of the screen, Granger from the left. Bruno walks to the train barriers first from one side and Granger crosses the same path from the other and also they get on the train one after the other, again one crossing the path of the other. Finally Granger touches Walker's foot so another criss-cross as he crosses his leg and Bruno already has his legs crossed. So a lot of criss-crosses. 2. The contrast between Bruno and Grange
  10. 1. The Hitchcock touches are very obvious in this scene. The close-ups of Grant as he approaches Bergman and of Bergman on the bed; the POV shot of Cary Grant upside down and rotating as Bergman wakes up; the actress on the bed (as Carole Lombard in Mr & Mrs Smith and Joseph Cotten in Shadow of a Doubt). In this film he adds another way to offer information to the audience. Instead of having 2 other characters (as in The Lady Vanishes or Mr & Mrs Smith) doing so, he has the 2 stars having a conversation about what is going on and filling us in. 2. Hitch uses dark and light. Initia
  11. I. Hitchcock touches I could see a few Hitchcock touches: actress on the bed (as the actor on the bed in Shadow of a Doubt); the 2 ladies filling us in on what has been going on (as the 2 Englishmen did in The Lady Vanishes). The touch of humour in the scene when Robert Montgomery shuts the door to make Lombard think he has left the room (as in The Pleasure Garden when the actress plays a trick on her admirer backstage). The attention to detail in the camera shot of the entire room focussing on the dirty dishes scattered all over the room, the shots of the two lead actors' and other vi
  12. 1. We learn that 2 men want to see Uncle Charlie from what the boarding house lady says to him. The cash thrown so carelessly on the bedside table and fallen on the floor next to his bed make the audience think that there is something odd about the man's attitude to cash. Joseph Cotten is a boarder in this house and seems to be tired. He tells the lady that he is not sure whether he should ask the men to come in or whether he should go out and meet them. When he speaks to the lady, it's almost as if he doesn't care. However as soon as the lady leaves, he gets up and smashes a glass and says" W
  13. 1. The opening sequence of Rebecca is shot outdoors as were The Man Who Knew Too Much and The Lodger and unlike Blackmail, The Ring and The 39 Steps which were all shot indoors; serious in tone and atmosphere as were The Lodger and Downhill unlike the light-hearted Pleasure Garden and unlike the Ring though the latter had a mixture of seriousness( in the scene with the fighter talking to his trainer) and light-heartedness (in the party scene in the room next door). The opening scene is truly dramatic with its mysterious shots of the long, twisting driveway and the house itself and reminded
  14. 1. The music is lively as Hitch films the scene but then the workmen walk in chattering, and the music stops. We hear the fanfare of the clock and the distressed hotel manager speaking in many languages on the phone. The cinema audience feels a little unsettled by the contrast of the lively music with the noisy scenes which takeover. Hitch is setting the scene for the audience. 2. Caldicott and Charters fill the cinema audience in on the scene with their running commentary: the fact that they are stuck in this hotel for the night; who they assume the 3 ladies are; one of them even warns us
  15. !. Fitting a pattern: a) the setting. the theatre audience in The Pleasure Garden and an outdoor audience in The Man Who Knew Too Much. In the Lodger the audience are not technically an audience but a crowd listening to the lady describing the murderer. entrance of Hannay: a mysterious figure entering, no face shown similar to the description of the murderer in The Lodger c) the Music Hall lit sign as in the lit signs in the Lodger d) the music: lively as in The Pleasure Garden e) atmosphere of the setting: lively theatre as in The Pleasure Garden or open air in The Man Who
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