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BillieDawn

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Everything posted by BillieDawn

  1. Here are a few-- Still of the Night- (mentioned by dweigum). Love this movie! Has a great dream sequence, a blonde and an art auction. Niagara- (mentioned by someone else too) Love this movie. Has a national monument, a blonde and a recurring musical theme. Stoker- This movie really seems to directly rewrite or reference Shadow of a Doubt. Knife in the water- Polanski's first movie? seems relevant. The Skin I live in- Pedro Aldomovar. The use of Antonio Banderas in this movie seems so Cary Grantish to me. The Sea of Love- Al Pacino and Ellen Barkin. Love this movie!
  2. 1. -Frenzy utilizes a panoply of modern filmmaking innovation such as color, sound & aerial shots to present traditional commercial representational filmmaking- whereas the Lodger utilizes cruder technology to achieve a more stylistic, experimental type of filmmaking. -The Lodger opening starts by showing murder and discovery of the body and Frenzy's opening ends with discovery of the body & realization there has been a murder. -Frenzy starts from very far away and The Lodger starts from very close in. -Frenzy starts with the pomp and circumstance of official business occurrin
  3. 1. -Marnie is secretive -She is alone in the world -She is an expert at disguise or transformation using cosmetics, nail polish, lingerie, fashion. -She's extremely organized and a precise, deliberate planner. -She's able to discard things, let them go, almost wastefully. She's formed no attachment to them. -That she's carrying lots of cash implies she's criminal or illicit in some way. -That she's not in a hurry implies she's in no immediate danger but is control of her situation. -She seems to only choose identities with first names that start with "M". -The last name she used was "
  4. 1. Meet Cute The characters meet cute and exchange playful banter with sexual undertones. They're clearly a match for each other- both attractive- both have strong drives and wants. He thinks he wants a woman who will fit into his lifestyle (his description of the love birds- not too demonstrative or restrained). Already we see that Melanie is pretty demonstrative- attracts attention and is a little bit of a minx. She thinks she wants a man who's the perfect fit- not a "chick" and already trained to talk and will be delivered to her house in a cage. (The my
  5. 1. Grey bars The grey bars of the title sequence evoke the noir shadows of window blinds, prison bars, highway dashes. They echo the bars of the headboard in the hotel room. They create the staff upon which notes of music are plotted and strung. The bars open and close with a mechanical, ruthless speed, like cutting blades of industrial machinery. They also remind me of the serrated stairs of an escalator or quickly closing elevator doors. The screen itself becomes bisected into what could resemble a type of bar graph indicating life or levels of volume. The bars throb with life force and
  6. 1. We get to enjoy archetypal Cary Grant suaveness under pressure. He's being chased for murder and yet he still looks great, orders a cocktail with lunch, woos a lady, lights her cigarette and even manages to leave a tip. Also, Cary Grant liked roles where gals chased him. He didn't like the idea of his character being sexually aggressive towards a woman. By having Eva Marie Saint- a new young actress whose name sounds like that of a young catholic virgin! and
  7. 1. Visuals At first I think the movie will be about obsession or infatuation with a woman. I think this because the camera is SO close to her face that it represents this desire to get as close as possible to a love object. It's like there's this inappropriate closeness. (I remember seeing Psycho on the big screen and feeling that the close ups of Janet Leigh were almost claustrophobic for me- like bad boundaries or something). Then when I see the red tint on her eye I get the sense it will be a movie perhaps having to do with photography or a dark room- since dark rooms have that red lig
  8. 1. I would describe the opening shot as a masterful visual narrative presenting the "universe" of the movie and hinting at some of the movie's themes and conflicts. Hitchcock is showing us our world giving us backstory on our protagonist and also introducing minor tableaus and foreshadowing romantic conflict. The vantage point is ours. We're the voyeurs in this moment- immediately complicit despite ourselves. I love that the movie starts with us going OUT a window- when so many of his movies start by going IN a window. 2. We learn -His name is L.B. Jeffries
  9. 1. Criss crosses -train tracks -come from different directions onto the train -tennis rackets held in a crossed way? -the opening shot of train station archway looks like a church arch implying a cross? -They both cross their legs (different than the woman next to guy whose feet are together) 2. Clothes Bruno's's two tone shoes evoke Uncle Charlie's shoes. They're jazzy, dandyish, bright. Guy's shoes are simple durable, masculine. Bruno's pants are shorter to show off shoes, socks- maybe more tailored? Guy's pants are longer, c
  10. I must confess, I love this film so much that it makes me feel jealous to see other people even talking about it! 1. Hitchcock touches. -We see Alicia in a facedown one-eyed view. This is similar to Lombard in Mr& Mrs. Smith and Janet Leigh in psycho. That single eye is iconic. Could even be an echo of Norman looking through the peephole. Reminds me of Magritte painting. -Shadows on the wall are complex and echo the moral complexities the characters face. -Alicia's blouse is a stripe which perfectly posits her as a "convict" (convict stripes) to Cary Grant's "copper" dappernes
  11. I'm fond of this movie. 1. Hitchcock Touches -Reminds me of lifeboat when camera pans across objects to tell a story- withholding dialogue -Reminds me of later movies where food is shown & featured -Reminds me of Shadow of a Doubt where the "help" are given first lines in a story and the main characters are "presented" with a sort of delay & then a visual flourish. -Carole Lombard's single eye reminds me of Janet Leigh's eye in psycho. -the use of "bars" of shadow & light is often seen in Hitchcock movies indicating his pr
  12. I dearly love shadow of a doubt! 1. He's careless with money. Perhaps because it comes easily to him. He's able to put on a show of prosperity but is possibly more at home in dark corners. He's attractive to women. They like him, protect him, fuss over him. He's a stylish dresser. He's prone to depression or a sort of suicidal ambivalence. He's a risk taker. He's avoiding something. 2. The movie reminds me of a noir: Uncle Charlie speaks in a cryptic, cynical, almost jazzy or philosophical way. Money is useful but it's not the primary thing
  13. 1. The first scene is deserted of people! The mood is eerie and calm rather than loud & dynamic. A voiceover is a new technique for Hitchcock. The scene is outdoors rather than indoors. The romantic music functions typical Hollywood score rather than novel counterpoint. There's no real humor? The scene is a flashback. 2. The rolling forward camera shot is typical. Having a camera enter the movie through a building's window is typical. Roiling seas beside cliffs is typical or comes to be typical. Showing our leading man from behind is typical
  14. 1. The lady vanishes's opening is reminiscent of the 39 steps in that there's a passive crowd of people who are focussed upon a single person. In 39 steps, they're focussed on the memory man and In the lady vanishes it's an innkeeper. The delicate, childlike music acts as a counterpoint, I think, to the wind raging outside. It sets us up geographically & tonally in a small provincial haven. We see lots of contrasts in this one scene- the relative calm turns to mayhem when the innkeeper makes an announcement. Some guests are fawned over and others are ignored. This is inn is recognizable as
  15. 1. This time we're identifying with the audience and not getting the backstage view. Expectations are confounded - the slow reveal of MUSIC HALL and the dingy sort of shadowy ticket buying sequence sets us up for what might be a sordid experience but instead we find a playful and harmless and completely nonsexual entertainment. In the pleasure palace, the playful descent of the dancers down the spiral staircase seemed to foreshadow a vivid and exciting stage show but instead we were forced to watch the lecherous audience members and backstage deals. 2. I
  16. 1. I respond to the characters right away and so I think it will be more character driven. The plot seems like an interruption. 2. I learn that Abbott is able to appear affable and friendly but keeps company with a rather sour looking companion who's less affable and seems like a subordinate or caretaker. I learn that his English isn't good enough to know idiom. I learn that he knows the skier but wants to conceal it and is good at concealing it. He seems to have a little money due to his fur collared coat. 3. This opening takes place during a vacation whereas both the Pleasure Palace
  17. 1. At first we hear all the sounds available to Alice and then we begin to hear the ways in which Alice's mind manipulates and warps those sounds. At first she blocks them out by going into the phone booth. Then her mind tries to block them out and is able to muffle and repress all the woman's chatter except the word "knife" which repeatedly and painfully pierces through the muffled sounds. The final utterance of "knife" sounds like a near scream to us/Alice but we can tell that the others didn't hear it that way because they react not to the woman but to Alice dropping the knife. Finally, we
  18. Hi! Here are mine, in order, although this is totally impossible. 1. Shadow of a Doubt (I love Theresa Wright and this movie is almost perfect) 2. Notorius (gaaa, this movie is so hot) 3. North by Northwest (also almost perfect movie and Cary Grant) 4. Vertigo (a perfect movie but exhausting) 5. Rear Window (perfect too but secretly wish Cary Grant was in it) ALSO I have to add that I LOVE the 39 steps, Foreign Correspondent, Dial M for Murder, Sabotage and the first version of The Man Who Knew Too Much and Rope. Also Strangers on a train. I'll always watch those when they're o
  19. 1. The dolly shots make me feel like I'm very passive and I'm being pushed/drawn towards something inevitable, dreadful and yet irresistible. It's sort of like being on a carnival ride or a fun house. 2. I think it allows Hitchcock to function as an unseen & silent narrator in the scene. This adds a layer of psychological and subconscious storytelling that allows for more complexity and effect. 3. Purses! Dancing feet Phonographs Doorways used as frames Signs conveying unusual or specific information (Closing Wednesday at 10:00! Why Wednes
  20. First of all, is that Ian Hunter? I love Ian Hunter. Ok, moving on. 1. Quick cuts indicate intensifying emotion Superimposed images of the lovers indicate the boxer's preoccupation Distortion of the images indicates perhaps malignant thinking The use of quick cuts in addition to superimposition in addition to image distortion indicates climax 2. The boxer's subjectivity is shown by the fact that he imagines his wife actually kissing the other man when we can see clearly that they're not kissing. The warped dancers and warped piano keys show us that the boxer is
  21. 1. Similarities -blonde as object of crowd gaze and prurient curiosity -crowds filmed watching something with emotion -scenes filmed from backstage, dressing room & printing press show people at work -opportunistic pickpockets & opportunistic reporters exploit women -moments of humor interrupting more predatory tone -blurred camera effects to convey moments of emotion -use of signs to convey info - 2 contrasting women (sassy blonde & naive brunette in pg and then dead blonde and horrified harridan in lodger
  22. 1. I see the Hitchcock touch in a few ways. Purses- Hitchcock often focuses on purses or handbags as a sexual symbol. I think of Janet Lee's basket style purse in Psycho. Also Grace Kelly's red bag in Dial M for Murder. Also Grace Kelly's "Mark Cross" overnight bag in Rear Window. Coil of hair- Hitchcock seemed to be obsessed with a coiled hairdo. We see it in Vertigo and also in Tippi Hedren's french twist in The Birds. It seems a kind of focal point- a kind of visual metap
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