1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples.
Yes, one can see the beginnings of the Hitch style, the wiring of his brain - the most telling for me was the way scenes are shot- watching the viewer, slow pan across the men customers ( with the humour kick showing the sleeping woman), seeing many scenes at the same time, the backstage shot showing the whole theatre). I also notice the use of shadows and lighting- the spiral stairs, the faces of the thieves, and the very personal, and at times unsettling, POVs.
2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? yes, I do agree. An artist carries with themself their whole POV and it seems even at this very early chance for Hitch to bring out all the things he had been trying to do earlier as the other behind the scene positions he had occupied.
3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue?No, not really. I say this because as a modern film viewer one has to train oneself to be a silent movie viewer. I have learned that really the dialogue placards are really there to make sure you , as the viewer, are on the right path - if you are watching the actors' mannerisms, facial expressions, and the body language between them, and if the score is done well, one can truly not even miss the spoken word and the dialogue placards become intrusive.
