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yelowros

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About yelowros

  • Rank
    Newbie
  • Birthday August 17

Profile Information

  • Gender
    Female
  • Location
    Flagstaff, AZ
  • Interests
    Graphic Design, Film Titles, and Judy Garland
  1. The graphic design of the titles and the score introduce feelings of suspense, psychological experience, a chase, and of course some horror. The moving of the lines and the jarring of the names indicates perhaps slicing of a sense of uneasiness. I love Saul Bass' style! Hitchcock is seeking to establish a timeline of events at the beginning to help the viewer understand what Marion's life at the time soon leads up to in the first few minutes of her story and short time on screen. The director elects to enter the hotel room that way because her meeting with her lover is in secret and again we are voyeurs of a forbidden romance. This shot reminds me especially of the Rear Window opening scenes where we are introduced to the characters lives through their apartment windows. The scene of the hotel room establishes Marion Crane as a woman of modesty and risk. The afternoon meeting with Sam hidden in the shadows of an unknown hotel room displays that she doesn't want her private life public. Hitchcock tastefully shows the femininity of Marion and her vulnerability.
  2. The opening camera shot gives us all the information to understand who Jeffries is and why his leg is in a cast, it also depicts his neighbors and their daily morning routine. Hitchcock establishes a narrative of each character without use of dialog. The vantage point given is that of the viewer through the fourth wall. In this scene, we learn that Jeff is a photo journalist for Life Magazine who is laid up in his apartment with a broken leg. He seems to have been hit by a race-car. Jeff's backstory is told simply by a shot of his broken leg, a broken camera, a photo of a car, and a Life magazine. The opening scene can at times give the feeling of voyeurism, but at most it is the feeling of actually being Jeff and seeing what he does. The feelings I get are a sense of curiosity and a bit of guilt plus suspense. Yes, I have seen the entire film many times and would absolutely have to agree that this is Hitchcock's most cinematic film. It is proven in the cinematography, the use of the same setting to tell a story, and the thrill of watching people up to no good...well some of them.
  3. The use of the camera and "literal" POV frames. How the camera shows us exactly what Alicia is looking at and from her angle. This is genius! Hitchcock uses light to tell us how Alicia is feeling as she experiences her hangover and shadows Dev to keep him mysterious (and handsome). He frames and photographs each character in a way that subtlety describes their reluctant chemistry that is soon revealed once they reach Rio. The scene is slow, but gives us an idea of who each character is and what their purpose in the story is. The pairing of Grant and Bergman is perfection. Their chemistry is genuine, but at time painful. His heartless approach to her and her pleasing way that leaves her in danger resonates on the screen. The scene actually challenges more than conforms each actor. Cary Grant in particular is well-known for his comedy, but in this film he is serious and hardly cracks a smile. Ingrid Bergman reveals more of her melancholy nature that can be seen in her later films. This is my favorite film of all time and I'm excited to see it recognized. #TCM #Hitchcock50 "Dry your eyes, baby. It's out of character."
  4. 1. There are absolute evident beginnings of the "Hitchcock touch" in this sequence. The frames of the chorus girls and the camera blur as we see a man beguiled by a specific blonde chorus girl. The invitation to be a bystander looking through the wings brings the viewer closer to the sequence and the story being told. 2. I do agree with the assessments of Strauss, Yacowar, and Spoto. The drama and camera observance of an observer (classic technique). The expressions given, so words aren't necessarily needed in order to follow the scene. Also, the drama of the naive woman and the loss of her important documents. 3. No, not really because for that time the sequences are juxtaposed in such a way that engage the viewer and tells by showing rather than by speaking.
  5. Excited for #Hitchcock50!

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