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

BrendaRay

Members
  • Content Count

    17
  • Joined

  • Last visited

About BrendaRay

  • Rank
    Member
  1. i just replied for over two hours of writing on this topic and it all got erased, said to go back and do it again. But I am washed out, and it is late and so not doing it all over again. What a shame. But in a capsule,I think the opening of Frenzy doesn't differ much from the Lodger; both have crowds in the street, both reacting to murder, except Frenzy has body wash up. Some of the common Hitchcock touches are the opening crowds, a murder at the opening, screams. The thoughts I have about the various purposes Hitchcock had in mind when he created the openings were to shock, intrigue and
  2. Based on the opening sequence alone I feel what I already know about the character is that she had one suitcase and now she has two. She is comfortably dumping her old clothes into the old suitcase and opening up brand new stuff dumping it all into the new pretty pink suitcase including all that cash from the yellow purse. So what has she done and what is she up to? I think Hitchcock reveals her character through her interaction of throwing away the old and stockpiling the new; by having all those different social security card identities, by the cash she dumps out and into the new suitcase
  3. "Love Birds". You know, after studying these Hitchcock film years I have come to the conclusion that Alfred Hitchcock loved making movies with sexuality. And so, in this THE BIRDS -- twosomes. Though horror, how could he have his signature horror without his signature romance, or sex. All his films in some way deal with sex or sexuality, either underlying or not so underlying. And it seems Hitchcock was pretty riske in that regard with his filmmaking, especially for that time period. He ventured where many dared not go, and he got away with it, and it worked, and he kept on going, he was g
  4. I think these title design and score for PSYCHO introduce the main themes of the film in that both are fast pace, poignant, sharp-seeing title design matching the psychotic rousing sounding score, like a shocker, horror movie about to happen. I think it is seeking to establish and make sure we the audience know it is holiday season approaching, it is lunch time on a work day, and we enter the room with closed blinds letting us know something is going on in there but they still need a little bit of air; I think the scene sets us up for the Bates Motel because from the outside they look similar
  5. I think our pre-existing knowledge of these two stars function to create meaning in this scene by us knowing we will have a definite story and performance to look forward to. As we listen to their dialogue it lets us know it is the stepping stone to their heightened relationship in this film. I absolutely love that piece of dialogue exchange -- "What does the O stand for?". And as he lights her cigarette, "Nothing.". Great stuff. I think Hitchcock uses the ROT matchbook as an important piece of acting or prop in this scene because perhaps it will unfold later on or maybe it is a McGuffin.
  6. From the sounds and images in this opening credits I would tend to think the film would be about intrigue and suspense, here on earth. Maybe. I think it a superb title design and sound for this film. The mood and atmosphere I think they are establishing that this sequence is communicating to the audience is that there's a whirlwind time ahead, like fasten your seat belts, it's gonna be a dizzy ride. In my own estimation I think the most powerful image is the eye close up, the red, then going inside the eye and the pupil swirling effects coming on out as the swirls and spins continue. I thi
  7. I would describe the opening camera shot of this film as it's a sizzling hot day in the city and doesn't anyone have a fan? Not even a hand fan? And no flies coming in and out? I think Hitchcock is seeking to establish the flavor of his cinema -- the story -- summer time apartment dwellers minding their own businesses and who cares, except for the wheelchair bound Jeff who has nothing else to do but be bored and nosy. The bored nosy neighbor who also happens to be a photographer. I think the residents' vantage points are being expressed in this opening shot. I think what we learn about Je
  8. I think Hitchcock plays with or visually manifests the metaphor of criss-crossing in this opening by first showing the criss-crossing of the criss-crosssing automobile traffic in the background as that cab enters the train station arriving; then cutting to Bruno's lower body exiting the cab with close on his shoes all the way, then cutting to the other cab as Guy exits and close on his shoes, a contrast from Bruno's for sure; then cutting to the criss-cross train tracks as the train travels and back to the two gentlemen again as they sit, camera focusing on those shoes again, and then those sh
  9. The Hitchcock touches I see in this early scene are his signature close-ups and camera angles -- every which way -- great Hitchcock stuff -- like close-up on the juice glass, on Ingrid Bergman's face as she's zonked under covers across the bed, on Cary Grant from every angle and as he approaches her. But I think the Hitchcock touch too that comes across in this scene is his male domineering tone and character towards their women, like in Rebecca's Laurence Olivier's character pre-matrimony. I think Hitchcock chose to light, frame and photograph his two stars in this scene by the very close
  10. I haven't seen the entire film, just the opening here. Yes, the Hitchcock touch -- the immediate opening close on the food, someone's been eating and eating again and again without the dishes being picked up and without the room being cleaned. What we learn or know about the couple through the scene's visual design -- the props, is the room is a mess, I guess a hotel room, maybe they've chosen to just hole up in the room for a while and have room service morning noon and night with no one bothering them and we'll find out why. I do agree the opening sequence is typical Hitchcock because o
  11. Wow, Joseph Cotton. Hitchcock really stepped up his game, just like he wanted to, like he envisioned, in coming to Hollywood -- great move. What a difference. I am not a fan of his first works so much -- his British works. But in coming to Hollywood he had fallen right into his element like a duck takes to water, and these films after 1939 show it, He got his top acting talent he always wanted, coupled with more freedom for his continued artistic directorial expression. So what I learned about this opening and the character of Uncle Charlie is first, why is his name Uncle Charlie, whose
  12. I think this opening is different than the multiple openings in that there is no crowd or obvious turmoil at opening. The Hitchcock touches in this film opening that help me identify it as a film directed by Hitchcock is the taking us through the woodsy driveway then the waters crashing against the rocks and then BOOM the long shot of way up there the man, alone, standing, contemplating-- to jump? The opening uses Manderley -- the house -- as a kind of character in the story by making it prominent, a standout, a mysterious back drop, not background, but we immediately know this house is
  13. 1. Though a somewhat grave situation for the travelers, being stranded and all, the tone the mood, becomes rather uplifting and lighthearted by the music and these select characters, and that clock. 2. The characters of Caldicott and Charters are the comedic relief here. They're like dipping heavy cream into black coffee, it immediately lightens the load. And this is how these two add to this scene; they're like that "teaspoon of sugar that makes the medicine go down", to this situation, this scene. 3. I think in this scene Hitchcock uses dialogue, camera movement and the placement of th
  14. It fits Hitchcock's pattern of the close-up -- MUSIC HALL, the man buying ticket, then the crowd; and deviates from other opening scenes in that this one is serene, kind of, not in the chaotic or fast moving. So far, yes, I wondered what (expecting) was going to happen with the 'normality' of the scene and as we watched the ticket buyer enter the hall, follow him take his seat and then -- partake in the questioning. I think these screen elements play into the Hitchcock touch by the "roar" amidst the calm -- meaning, we know something will explode in a sense but what will that be? And in thi
  15. 1. Based on the opening scene I think the characters are going to be more important. 2. What I learn about Peter Lorre in this brief scene is that he will have a deliberate humorous character trait, making light of what he knows is not light at all. This introduction might affect my view of the character Abbott later because as he tries to unveil whatever truth it appears he will do so with this his humoristic side to him. 3. The opening scene of this film is similar to THE PLEASURE GARDEN and THE LODGER to me in the way Hitchcock uses his CLOSEUP faces and then the crowds clamoring,
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...