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About dmaxedon

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  1. I had a few ideas right off, then after reading others' suggestions, thought of a few more, so in no particular order... - the history of animation ( from the beginning to current day ) - the history of horror films ( from the beginning to current day ) - the history of sci-fi films ( from the beginning to current day ) - the history of comedy films ( by the decades ) - the Universal monster films - the spaghetti western - classic films ( what makes a film a classic ) - Abbott and Costello ( just cuz I love'm so much ) I enjoyed 50 Years of Hitchcock, and the online class experi
  2. Ooh, this is fun, another favorite just came to mind, Hush...Hush, Sweet Charlotte, which happens to star Joseph Cotten and Bruce Dern, there's stars and not stars, a McGuffin in a box, murder, suspense, a person being driven mad, eerie dream sequences, and who can forget the staircase, and it's perfect use in the death of the maid, Agnes Moorehead, in particular her closeup after her death, it's so shower scene! The music also plays an important role in the movie, and is very befitting. There are several comedic moments as well, in particular with the maid and the reporter Harry Willis pl
  3. I've always felt Wait Until Dark was very much like a Hitchcock film, the star power, the drug-filled doll McGuffin, the (primarily) one room set (Rope), the wronged person with a twist, and the overall psychological / suspense thriller aspect of it. Audrey Hepburn and Alan Arkin are both superb. The sub-level apartment provides great juxtaposition for certain (low-angle) shots, and also adds character to her living situation (Psycho). There are some excellent POV shots with Audrey Hepburn's character, Susie Hendrix, who happens to be blind, and there's the tongue-in-cheek of it. T
  4. 1. It's similar, yet different, yes there's a murder, but with Lodger, it's frantic and fresh, we go from a very recent murder and the ensuing panic, to a more sedate focus on a mundane event, that is interrupted by the curious arrival of a murder victim. Before that takes place, the long tracking shot seems like a majestic homecoming for the Director himself, I'm back London, and look what I can do now. It's very grand in gesture, the bridge is welcoming him with open arms, the music is very British and very proper, it all seems like a grand gesture to say I'm rounding the bend, and I haven't
  5. 1. We're meeting a woman who is practiced and polished, she's switching identities as someone might change their shirt. She's comfortable not only with becoming someone else, but leaving the previous person behind, reinforced by the fact she doesn't put the old social security card back in the deck, it's quickly discarded, and we never go back. Although, keeping that life in a suitcase at the train station does give her an out, if she ever needed it, but not too easy of an out, as she has to recover the key from the grate, which wouldn't necessarily be an easy task. She also has certain items
  6. 1. I should start by admitting this isn't one of my favorite films, although, I remember it better than some because it was still relatively current when I first watched it, and it seems to get more frequent air time than some of his other films. That being said, the opening scene hints at something to come before she enters the pet shop, but quickly becomes disconnected from the goings on outside, and more about the flirting, and possible chemistry between the two main characters. It also establishes the usually peaceful nature of birds, by referencing "love birds", and even including the fac
  7. 1. The opening credits hit you like a frying pan in the face, with music that sets the pace and the tension, and then the credits come in and are equally fast-paced and tense. There's also a not so subtle frenzied quality, like I suspect the inside of Norman's mind might look like visually. The bisected text is an additional (perfect) touch to let us know there's violence a foot, in particular the last credit "Directed by Alfred Hitchcock", where it jarringly separates, cracking up before our eyes. The two combined, really gets you ready for what's about to come, even if you don't know it yet!
  8. *Does anyone know what Marion (Janet Leigh) says to Sam (John Gavin) at the 3:26, or so, mark in the video clip? Right after she says "When you're married, you can do a lot of things," she then hurriedly whispers something, after which, he says "You sure talk like a girl who's been married." I've listened several times and cannot figure it out! Maybe someone has already asked/answered that question!? "Deliberately" ...in response to Sam saying "I've heard of married couples who deliberately spend a night in a cheap hotel."
  9. 1. I don't know if they had a relationship off camera, but their chemistry on camera is very obvious, he's Cary Grant, you don't get more suave or manly, he's the perfect hollywood leading man, and a natural, we believe he's Roger O. Thornhill, it's like putting on an old suit, he just fits. Eva Marie Saint is also perfect in her roll (not sure I believe she's 26, but still). I don't know much about her hollywood life, but between her voice and those eyes, she is Eve Kendall. The banter just flows between them, as if they already know what the other is going to say, which maybe isn't real life
  10. 1. I think it's difficult not to be influenced by having seen the movie, but the close up of the woman's face really feels like obsession, combined with the swirling graphics, it also evokes mystery, and delusional and disruptive imagery, you certainly feel the taut psychological influence. The color shifts add another layer of juxtaposition to the images. 2. Right at the beginning, the close up of the woman's face with Jimmy Stewarts name just above her lips. As a graphic designer, It just seems like the perfect image. 3. The imagery is unsettling by itself, but you add Bernard Hermann's sc
  11. 1. It's our vantage point, as later seen by Jeff of course, so we know what he has and will be seeing. It's also an introduction to Jeff's world for the past few months, letting us know what all he's been living with. Yes, there's a lot to see, but it's only a small area for someone like Jeff, a globetrotting photographer. It helps us to understand how confining it really is, and that we might do the same, if we were in the same situation. It's a visual oxymoron, a large confined space, where your imagination can run wild. 2. Through the furnishings and images in his apartment, we get that he
  12. 1. Criss-cross is seen throughout the scene, some may not be intentional, but who knows. To start, the cars at the far end of the train station are crossing in front of each other, one from the left, then one from the right. This one may be a bit of a stretch, but the cab company is Diamond, something about diamonds makes me think of criss-cross (cuts). Bruno's pant leg is mysteriously askew, but not so mysterious when you realize we can see the criss-cross pattern of his shoelaces. Then Guy gets out of the cab, tennis rackets and all, which also connote a criss-cross pattern. They appear to c
  13. 1. He starts with a great rotating POV shot (I can watch it over and over), Cary Grant is Cary Grant and Ingrid Bergman is Ingrid Bergman, they're two of my favorites, and they're perfect together. The light and dark contrasts are very Hitch / noir. He sets up the story early, letting you know they're spies, rough around the edges, but experienced and capable. There will be intrigue, and most certainly romance. 2. As briefly mentioned above, the lighting, shadows and contrast are just great, it's very noir and very rich, there's a depth to the scene, I mean how is it just black and white? The
  14. 1. Hmm, I see a room full of clues as to who these people are, well to do, spoiled, a staff of people waiting on them, i certainly wouldn't call them average. They do seem to be going through something, and we're about to find out what it is. It's probably going to be fun, and being a Hitch-pic, we are thinking it might be adventurous. There are some tracking shots that are reminiscent of Hitchcock, but if I didn't know it was his work, I don't know that I would have picked up on it, especially based on the subject matter, even though there are some familiar thematic elements, the couple in lo
  15. 1. He's in a boarding house, that provides some insight as to who he might be right there, he's well dressed, surrounded by cash, smoking a cigar, relaxed about what's to come, and even what may have happened the night before. In his reaction to the landlady telling him about the two men who visited, he seems well spoken, opinionated, but also mysterious, cutting and on edge. Surprisingly, we learn a lot about his true nature in just a few moments. I like how others pointed out the landlady is willing to protect him, as a nod to his ability to charm women, women who might not otherwise garner
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