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Everything posted by Suj

  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 informs the audience where it is as he did in Psycho, the crowd listening to a man talking about polluted rivers (in The Man Who Knew Too Much - crowd watching the skier; in the Lodger listening to the lady describing the murderer). Informing the audience about a murder within the first few minutes of the opening as in The Lodger.
  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. The music is very Bernard Hermann. It starts of being very quiet and repetitive a bit like that of Vertigo in the intro. It then changes when she puts the cash in the suitcase (sound of French horns?) and finally turns into dramatic rousing music when we see her after she has washed off the dark dye and as a blonde to reflect the triumphant look on Marnie's face that she has got away with her crime. The music stops when she puts her suitcase in the locker in the station and all we hear is the station announcer's voice. I think Hitch stops the music to make us sit up and pay attention to what she's doing as she does this. 3. Hitch's cameo is slightly different to all the others as he turns around and looks at the camera almost as if he's saying: Yes, it's me. You've seen my cameo. You can concentrate on the rest of the film now and forget about looking out for me! Perhaps a little more obvious than all his other cameos with no other people around except Marnie and the porter.
  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 Pet Shop. At one stage she turns around to look up at the birds in the sky before she enters the shop making us notice the bird sounds even more. As she enters the store, we hear the birds tweeting quite loudly and the sales lady explains it's because of a storm at sea. Throughout their conversation the bird sounds seem to almost prevent us from hearing the conversation between the 2 ladies. 3. Hitch's cameo. Didn't really see any strong significance apart from it being a regular Hitchcock feature in all his films but you could argue that he walks out of the store with a pair of dogs and we will be introduced to Rod who will become a pair when he meets Tippi and that he asks her for a pair of love birds for his sister. It also adds a comedic touch to the scene.
  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. Friday the Eleventh and Two Forty Three pm makes the audience think we're going to see a crime scene through that window except it isn't (yet) but a love scene of a secretive meeting. This opening sequence reminded me of Rear Window's opening sequence as it pans the whole city first then moves into the window with the lowered blinds - the main differences being that in Rear Window, the camera pans the courtyard and a bit of the outside world (the main street) and looks into a lot of windows. As in Rear Window, the camera actually enters the room in which one of the protagonists is and is not just a peeping Tom but a camera which informs you about one of the main characters. 3. We learn from this scene that Marion is meeting her lover secretly in a hotel room in her extended lunch hour, a regular occurrence whenever her lover is in town. We learn about her boss too so we know she works in an office. She also expresses her wish for this to be the last time for this type of meeting (ominous!). Shooting the scene in the hotel room enables Hitch to introduce Marion's character and give us a bit of extra knowledge about her through the dialogue between her and John Gavin.
  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 whether Eva Marie is interested in him.. Eva Marie however is completely in control of the situation and conveys to the audience and Cary that she is interested in him while Grant can only hint at it by calling her an attractive woman who may feel uncomfortable about him showing his feelings for her. However once he does know, he relaxes in spite of his precarious situation as a hunted man. 2. The ROT matchbook enables Grant to make a gentlemanly chivalrous move towards Eva Marie in helping her light a cigarette but it is more of a prop to let the actress hold his hand as he withdraws it after the cigarette is lit and to show the sizzling chemistry between the two as she blows out the flame. The flame of attraction and the flame of the match have been struck at the same time! 3. The sound of the train on the tracks and of the cutlery and glasses clinking make the audience realise that the actors are in an ordinary situation which anyone could be in if they were travelling in a dining car of a train. The lack of sound of other people talking around them helps to emphasise that the couple are totally absorbed in each other except when Grant turns around to see if he is being watched or when he orders his food. The music soundtrack is soft and romantic to create the right mood and the train starts hooting just when Grant realises that Eva Marie is interested in him and says"I know exactly what you mean" as if it echoes his own feelings of jubilation (if that's not too strong a word for his feelings at that particular moment!)
  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 not have been as effective in making the audience feel uneasy and ready for the thrills to come.
  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 photographer as it shows the war and action photography around his room. It then also shows us a negative of a lady's photo with some fashion magazines next to it implying that he doesn't just take gritty photos but does some fashion shoots too or has some connection to someone who is involved in the fashion world. Hitch also shows us that something has gone wrong with the broken camera, that Jeff has had an accident and is in a cast and that it's extremely hot in his apartment. Perfect visual design in this scene! 3. Yes, you feel as if you're in the room watching these people carrying out their most intimate business (eg Miss Torso having a shower), It's almost creepy but arouses your curiosity. However it's surprising that Hitch has Jeff lying down sleeping with his back to the window because at first you think that the opening scene is the character's POV. Hitch makes us think it's just where he lives and when you first see the film you have no idea that this scene is going to offer us so much excitement in the next few hours, which in itself makes what follows that much more thrilling. Hitch lulls you into a false sense of security.
  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 Granger: Bruno wears two-toned shoes (light and dark), is more flamboyantly dressed with a floral tie and tie-pin with his name on it and all this is reflected in his attention-seeking outgoing personality. Granger wears a more formal darker 3 piece suit, more subtle reflected in his nervous, more closed character. 3. Tiomkin's music accompanies the visual scenes.Dramatic to start with, it becomes very rousing when the title is shown on the screen. As the cab pulls up to the kerb and Bruno gets off, it remains dramatic but quieter and then becomes lighter and more jazzy. As Granger gets off his cab, the music echoes that of when Bruno got off his cab but is a little lighter. As the camera shoots Bruno walking to the train barrier, the music continues and the same music is repeated as Granger follows the same path. Finally the music quietens down and stops altogether as Bruno starts speaking to Granger. The music emphasises from the start that Bruno is the more dominant personality and hints at how he is going to control Granger.
  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. Initially we see Grant in almost complete darkness as he speaks harshly to Bergman and as he approaches her, he casts a shadow hinting at the danger he is trying to embroil her in. There is a definite contrast between the way the 2 stars are shot one in the light and the other in the shade. When they listen to the wired conversation, Bergman emerges from the dark into light. The spotlight is shun more on her and Cary Grant is back in relative darkness. The shots of Bergman are in soft-focus whereas those of Grant are very sharp and defined. She is on a soft messy bed and her hair is falling apart but Grant is dressed in a sharp suit and has lots of angles around him - the doorframe for example. We definitely see Grant here as a dominating character trying to attract Bergman into his web and seeing Bergman helpless, drugged or hungover, makes her seem more vulnerable. The art direction and cinematography are superb and all the visual effects here make the audience realise how powerless Bergman feels as Grant manipulates her into spying for him. 3. I think this scene does challenge the well-known star personas of Bergman and Grant. Just as he did with his casting of Cotten as a villain in Shadow of a Doubt, he shows both Grant and Bergman in ambiguous, mysterious roles. We don't know who is wrong or right: Grant because he is coercing Bergman into spying or Bergman for trying to resist spying for Grant. We first think that Bergman is completely innocent but we see that she has a tainted past - her father was a traitor. The cinema audience at the time would perhaps have found both roles shocking if they were used to seeing them in glamorous roles.
  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 visual clues to convey to the audience what has been going on between the couple. With these bits of visual design and with hardly any dialogue, we realise that the couple have quarrelled especially with the shot of Montgomery playing solitaire and looking fearfully at his wife sleeping and Lombard peeping through the blanket and hiding her feelings from her husband. As in Shadow of A Doubt (the shot of the cash carelessly left on the bedside table), the visual shots are more powerful than the dialogue between the actors. Hitch uses the bright lighting to give us the impression that the couple are in a bright sunlit room and to dispel the idea that this will be a film noir (the contrast with the room in Shadow of a Doubt which was pretty dark and shady). 2. This film does seem to be a typical Hitchcock opening scene because of its light music, humour and the 2 characters informing us about what has taken place as mentioned above. The first shot is also shot indoors as in Shadow of A Doubt; Downhill; the Ring and The Lady Vanishes. The light-hearted atmosphere is reminiscent of that in The Lady Vanishes and The 39 Steps but without the warning signs of possible danger (the mention of the avalanche in the former and the dark shadowy figure in the latter). The touches of humour are what makes this film similar to all his other films. 3. Casting of the 2 leads, Both Montgomery and Lombard sizzle together. Both are extremely good-looking and even though they seem to have had a quarrel, when they look at each other, they both seem to melt and their true feelings for each other are obvious to the audience. They seem to be comfortable with each other and actually look like a married couple very much in love by the end of this opening sequence. They seem to have great chemistry.
  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" What do you know? You have nothing on me!" looking at the 2 men who are waiting for him across the street and later defiantly walks up to the men almost brushing against one of them. His indifference seems to vanish as soon as the lady leaves the room and he becomes bolder and more confident. We see 2 sides to Uncle Charlie in this one scene - the laid-back indifference which transforms itself into a the defiant boldness most probably sparked by fear and anger. 2. The opening sequence is definitely "film noir" with its dramatic music, seedy boarding house and city setting and the presence of detectives after him. The sarcasm when he tells the lady "It's very funny, they aren't actually friends of mine, it's odd isn't it?" is also what we see in film noir. Similarly to The Killers, we see the main character lying on a bed but unlike that film, Joseph Cotten is shown in a bright room and we can see his face clearly. Both men are being hunted even though in The Killers, Burt Lancaster is supposedly already dead but Cotten as we can see, is very much alive. We see Joseph Cotten much earlier than we see Lancaster lying on his bed. Hitch manages to condense a lot of information into a short scene but the beginning of The Killers seems to drag on if you compare the 2 films. The mood in both films is dark and threatening. Both films have a very realist perspective. There is no glamour here. The music (more in 3 below) is mostly dark and slow until he stands up from the bed after which the music becomes more dramatic as he walks faster and runs away from the detectives. 3. The music. The scene opens with kids playing in the street to the light-hearted Merry Widow waltz lulling the audience into a false sense of security until the camera approaches Joseph Cotten and the music quietens down and we hear the sound of bells ringing (could these be warning bells?). Thus in the first few seconds, the cinema audience expect a light-hearted scene to match the music. The music then stops and Hitch surprises us by showing us the cash on the floor and the bedside table and with the information that there are 2 men on Uncle Charlie's trail through the conversation between him and the landlady. After the lady leaves the room,the music becomes more dramatic as Cotten stands up from the bed, you hear screeching violin music which reaches a crescendo when he smashes the glass. The music lets the audience know that Uncle Charlie is not as laid back as he seemed in the first few seconds. As Cotten collects his money and leaves the boarding house, the music becomes louder and even louder when he stands up defiantly outside the door.Then the music quietens down as he approaches the 2 detectives. It then picks up with the sound of heavy piano playing to accompany the detectives' deliberate footsteps as they follow Uncle Charlie. The music definitely helps the cinema audience's understanding of the scene.
  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 me of the nighttime opening sequence of The Lodger with its moonlit scenes. The Man Who Knew Too Much too opened with a dramatic shot of the skier skiing into the spectators but turned into a more light-hearted scene when the people find out that they are not in danger. 2. We can see the Hitchcock touch in this scene as Fontaine who describes her connection with Manderley is shown as an ordinary woman who we know is going to be drawn into extraordinary circumstances because of the first words she utters in the opening shot about the house. Also the house, although not ordinary are Fontaine's home and not where you'd expect something dangerous to happen but we are given a hint that something dangerous will happen. You could say that the fact that we are informed that they won't be able to go to Manderley again is a MacGuffin which will move the plot forward. 3. Manderley is introduced to us in a flashback which is atmospheric and dramatic. At first it looks like a house which is alive with lights but then the camera pans to the right where you notice the burnt remains of the house and we are made aware of the sense of impending gloom especially when Fontaine says that they will never return there. We know that the house, like a character, is going to have an influence on Fontaine and the plot.. The lighting of this scene with its dark shadows and the dream sequence narration make it one of the most dramatic and atmospheric opening sequences in the history of cinema. For those who have read the book or seen the film before, it is obvious that the house is going to play an important role in the film but for those who haven't read the book or seen the movie, this opening sequence is a very mysterious and intriguing intro to the story which hints at the sadness to come when the narrator informs the cinema audience that she and someone else ("we") will not be going back to the house again.
  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 that England is on the brink, even though the other tries to dismiss it as rumour. Nevertheless what they say is meant to make the audience sense impending danger. 3. To establish Lockwood as the star of the scene, he shows Boris leaving his desk to greet the 3 ladies. The camera follows Boris while he does this. He speaks to all 3 ladies and they all speak to him but Lockwood then takes command and leads the other 2 ladies with Boris at her side. Hitch shines the light on her and the other 2 ladies are left in the background and in the shade. They stop on the stairway while Boris explains that there has been an avalanche. Boris pays more attention to Lockwood then to the other 2 ladies which makes us realise she is the star of the scene and when Margaret orders a magnum of champagne, this only serves to make it clearer to us. Of course, the cinema audience at the time would already be aware that Lockwood was an established star, having been the leading lady in a few films before this one.
  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 Knew Too Much. Deviation from this pattern: The setting: a different type of audience in Downhill, the 4 characters are the audience and stage performers eg initially the lady watching the headmaster and the 2 boys. In Blackmail, the audience is a little group of people around the lady describing the murderer. Unlike in The Lodger and in Blackmail where the murder has been committed, in The 39 Steps, there is no mention of murder except for the mention of a murderer, Dr Crippen in the question put to Mr Memory. The subject matters differ in the films: Downhill is not about murder but about an accusation and The 39 Steps has a more light-hearted opening scene with no obvious hint of the danger to come. 2. Unlike in The Lodger and Blackmail, where the murderer or possible murderer is introduced to the cinema audience in the opening sequences, there is no murderer except for a hint (or red herring) that Hannay, the dark shadowy figure may be one in the first few seconds. 3. The setting of the music hall is a place where everyone can go and is unthreatening. The performer Mr Memory is prominent and Hitch hints to the audience that he may become important later to the plot. Hannay is also thrown into the spotlight by his question. Some of the audience don't take Mr Memory seriously and ask him silly questions. Mr Memory is a MacGuffin. He does not seem to be important to the plot but he and his knowledge is what will drive the plot forward. Same goes for Hannay.
  16. 1. The opening scene of The Man Who Knew Too Much definitely gives the audience more information on the characters than on the plot and so we realise that the film is going to be more character than plot driven. 2. There seems to be something going on behind the jovial scene. We notice that Peter Lorre recognises the skier but immediately tries to hide the fact that he knows him. The audience thinks that there is something strange about Peter Lorre and maybe also about the skier as the latter then informs his friend and the friend's daughter that he has to leave the following day. 3. In all the 3 films, the opening scenes show an audience watching something happening. In the Pleasure Garden, the audience are watching a stage show; in The Lodger, the people are watching the lady telling them about the murderer and in The Man Who Knew Too Much, the people are watching the ski jump. Hitch includes comedy/joviality in all 3: in the Pleasure Garden when the admirer is trying to ask the actress out and her curl comes off her head; in the Lodger, the man who pretends to look like the murderer as a joke and in The Man Who Knew Too Much, the jovial scene after everyone recovers from the skier crashing into them. The Lodger differs from the 2 others as it introduces a murder right at the beginning whereas the other 2 do not mention any killing or anything dark although we can see a sub-plot brewing in the background with the look that Lorre gives the skier.
  17. 1. Sound is used to put the audience in the subjective mind of Alice in the "Knife" scene. Alice reacts every time the word knife is uttered by the lady with the basket. Hitch focusses the shot on Alice even though the lady is speaking and we only hear what Alice hears: the muffled sound of the lady's chatter with only the word "knife" being shouted. Every time the word knife is mentioned, Alice looks more perturbed and her eyebrows seem to jump up every time "Knife" is heard. We know from this scene that Alice has a reason to be so jittery. 2.Sound design being counterpoint to the visual track. The sound in this scene definitely collaborates with the visual scenes. For example the word knife being uttered at the same time as Alice's face is shown to react to the word; the man asking Alice to cut the bread and Alice fearfully picking up the knife and when trying to cut the loaf, the word knife makes the knife fly out of her hand. Also the customer bell sounds longer than usual and it takes a while for Alice to react as her mind is on the murder and the link with the knife 3. Subjective sound is not often used in cinema. Most probably because it focusses too much on one character and makes the scene too subjective and intense and threatening to the the audience.
  18. 1, The POV dolly/tracking shots add subjectivity to the scene. We see the scene from the schoolboys' point of view as the 2 boys are heading towards the Headmaster who is looking at them menacingly and we experience the sense of nervous anticipation in the 2 boys. We are put in their shoes, as it were. Also as the girl approaches the 2 boys ready to accuse one of them, a tracking shot moving towards the boys creates suspense in the viewers as we wait for the girl to reveal the identity of her lover. 2. Hitch uses tracking shots to make us identify wtih the boys as they face a threatening situation with the headmaster and to make the viewer nervous and create suspense. Just showing the actors' reactions and faces would not be revealing enough. The movement of the camera shot adds suspense, drama and anticipation to the visual storytelling 3. Visual techniques. The tracking shot in The Pleasure Garden is of the theatre audience enjoying the theatre scene. In the Lodger, shots of the faces of the people surrounding the woman who is telling them about the murderer. In the Ring, shots flit from one room to another and show the faces of the actors. In Downhill, the tracking shots are used to create suspense and anticipation again by showing the actors' faces. All 4 visual techniques show the reactions of the actors to the scenes they're in or around them. Motifs The Ring, The Lodger and The Pleasure Garden have 2 physically separate scenes - The murder scene and the post murder scene in the Ring, The Lodger has 2 physically separate rooms and the Pleasure Garden has the stage and the audience. Downhill varies slightly in that it has one big room but the camera moves between 2 sets of people who are physically divided by space in the room. In the Lodger and The Ring there is no movement between the 2 separate scenes but in the Pleasure Garden one member of the audience goes backstage to ask the actress out and in Downhill there is movement of the actors from one part of the room to the other. Themes: all show conflict either between men and women and/ or the men. In The Ring between the husband and wife; in the Lodger, the murderer and the woman who is being strangled. In the Pleasure Garden with the admirer and the actress backstage and finally in Downhill between the lady and the schoolboys.
  19. 1. Hitch uses montage by flitting from the serious scene of the fighter talking to his coach to the more frivolous scene of the party and the dancing girls. This montage shows the conflict between the 2 scenes. The dancing and frivolity add vitality and rhythm and interest to what would otherwise be quite a dull scene. 2. One of the techniques Hitch uses is imagination: the fighter seeing his wife in the mirror kissing the champion fighter. Is it imaginary or are they really kissing? Hitch keeps us guessing. 3. Hitch stages the action by showing the wife with the champion sitting close together. Although at the party and to begin with seen to be enjoying watching the dancing girls, they are then shot as if they only have eyes for one another except for when the champion says that he could take her to see the girls on stage and the wife looks at her husband with a worried look or a frown. Set design is used by showing 2 contrasting sets: one with the fighter in a dull room with talk of fighting against another room which is filled with people partying. The editing techniques used are the montage of scenes moving between the 2 rooms and a shot of the "adulterous" couple in a mirror.
  20. 1. The Similarities with The Pleasure Garden: The Focus on the reactions of the people in the film: the audience in The Pleasure Garden and the crowd watching the lady describing the killer. The Differences: The atmosphere and mood: The Lodger is dark and reminiscent of German Expressionism The Locations: The Lodger is shot equally in both outdoor and indoor locations whereas The Pleasure Garden is shot mainly indoors apart from the scene where the lady's letter is stolen. 2. Hitch style The shot of the murder victim being attacked in most of Hitchcock films (eg Psycho) The shot of the scream accompanied by the music which is similar to Psycho And of course, the Hitch cameo! 3. What makes the scene of the screaming woman work? The close-up accompanied by the heightened music makes it work as it did in Psycho (Janet Leigh in the shower) and Dial M for Murder (Grace Kelly being attacked by the intruder)
  21. 1. Hitchcock touch beginnings: I can see the beginnings of the director's touch in the sense of humour which is in all his films (the stepping on the man's foot in this one) and in the presence of a cheeky, confident lady, also a common feature of the director's films. 2. Elements, Themes, Approaches. The use of the audience's faces and reactions is similar to the process Hitch uses in The 39 Steps and The Man Who Knew Too Much (the scene in the Albert Hall,) to convey the mood of the scene - in the Pleasure Garden, humour in The Man Who Knew Too Much and The 39 Steps, tension. 3. Limitations on these opening scenes due to the lack of synchronous spoken dialogue: It does take a split second longer to fully understand the scene as you lose the immediacy of the speech and reactions of the actors owing to this lack of spoken dialogue.
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