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


  • Content Count

  • Joined

  • Last visited

Everything posted by mary_ann

  1. The opening scenes are similar in that there is the horrific discovery of a dead body, followed by a large crowd gathering to look. In each film, the victim is a fair haired woman found on the edge of the embankment. The differences are interesting. In "The Lodger" there is a huge reflection of media frenzy, terror and shock. The music definitely is more intense here as well. With "Frenzy",comparatively speaking, it doesn't seem like much of a shock with this crowd of people. The music is not audible during the discovery of the body. Rather there is politician speaking. Its almost like a farc
  2. In this opening scene, we get to know Marnie's character while she packs her clothes in a suitcase. She is a woman of extravagance, with all fashionable, very good quality and multiple amounts of clothes. There is nothing plain or simple in that suitcase. She is like split personalities as she casts away one set of clothes into one suitcase and all new and different clothes in another. There is duality as a theme running thru this film as was in other Hitchcock films. Of course, we see her empty her yellow purse of bills into the suitcase which attracts our attention. Where did this money co
  3. This scene is more appropriate for a romantic comedy as there is lots of flirting, and smiling going on and joking around. It is tongue and cheek, very proper, not risqué. The leading characters are introduced to one another and seem suitable. It is a believable match and we are led to want to see what will happen with the two of them down the road. It piques one's curiosity. They both are at the store looking for the same thing, love birds and he thinks she works at the pet store as she plays along while waiting for love birds. They too will become coupled up like 'love birds'. At first
  4. You have the cutting of the lines and breaks in the characters names as they are being introduced which shadows the coming attraction of the film. The cutting of flesh in the shower scene. The music is extremely sensitive to the graphic design and flows so well alerting the viewer to impending danger. With Hitchcock's specificity he is most likely suggesting the set up of a crime scene. In crime scenes, one always states the date and time and it follows the city be stated as well. There are no secrets. Everything is out there for the viewer to know. I love how Hitchcock enters the ho
  5. Our pre-existing knowledge of these stars does have an affect on how we interpret his/her performance. We know Cary Grant is a leading man and ladies fall in love with him. Eve Saint Marie is also a leading lady who also attracts attention for her beauty and wisdom. I feel the R.O.T. matchbook is yes to detract from the two stars. Its a break from the intense scene playing out between the two. Its also a reminder that this is going on between them, this unfinished business of his identity and as he strikes the flame, the heat goes up not only in his quest for innocence but also their attr
  6. I listened to this clip without visual. Based on sound alone, I'd say this film is going to be both dreamy, and haunting. The continuous melody rising, and falling, suggests twists and turns to the film. Some surprises followed by the ending of the clip, lots of drama. Non-stop. Looking and listening to the clip, the sensation is further enhanced. For me, the single most powerful image is the spiral rolling out of Madeline's pupil midway and then again at the end, where the spiral rolls back into her pupil. I couldn't imagine a different score for this sequence based on my answers abo
  7. wow, a lot goes on in one camera shot. I feel Hitchcock is letting the audience, 'us' see what the story will be all about by showing us a glimpse or summation if you will, of what is to come for the movie viewer. Through visual design, we see photos of Jeff so he is a writer or photo journalist. We see a broken camera and magazine cover shots he did as well. This scene does make me feel like a voyeur as I find myself looking at these vignettes, for e.g.. the woman putting on her bra with her back facing me. I feel that I shouldn't be watching her. It is really the daily snap-shots o
  8. First scene we have the criss cross of the diamond shape on the taxicab door. Criss cross diamond shape on the floor, criss cross of the train tracks, people crossing their legs with shots under the table, then the actual bumping into each other of Guy and Bruno. And a Criss cross pattern on Guy's tie. The score of Dimitri Tomkin sets the mood and tone of the film. It starts out loud and lavish with the arrival of the characters in their respective cars. Here the music quietens up then the trumpets start a bit. The characters come out of the cabs, but all we see for a while are their shoe
  9. I love this scene and the pov Hitchcock uses when Cary Grant approaches Ingrid Bergman lying in bed. We see Cary from the point of view of Ingrid yet when she tries to get the angle right, it seems he changes. Its the typical, you don't always see things as they are element in a Hitchcock film. There is distortion, the distortion of truth. Then the truth comes out on a recording on vinyl. Very interesting indeed! The contrasts are great. You have Cary, clean cut, in a suit, no wrinkles then a disheveled Ingrid, still wearing her clothes from the previous night, coming out of bed with a h
  10. What a mess! The couple live together yet sleep separately and sheltered into their bedroom. They are contained in a microcosm thats part of the house. There is a mess and pile of dishes with food, and a chaotic disarray. The lighting suggests a sunny day, the curtains are drawn but are sheer so we see the rays of sunlight. I like how Hitchcock uses long camera shots for telephone conversations and the two maids talking to one another about what the one who took breakfast up saw in the bedroom. The decor suggests opulence, lots of silverware and dishes, fancy plush satin bed covers and she
  11. Oddly enough, in this opening scene, we don't learn too much about this character except that he is hiding something when he gets mad and breaks a glass then gets up to the window and says "what do you know, you are bluffing, you have nothing on me" as he discreetly watches the two men on the corner of the street who called on him. He smokes a cigar and has lots of money it seems. It is clear though that he doesn't wish to be disturbed and could be ignoring the callers. Not much else is revealed about him however the music crescendos when he makes a bold move and walks out the door of his fl
  12. 1 & 3) The opening of "Rebecca" is so different from most Hitchcock films previously made. Here we have the moon, a glorious shot of a full moon and a narrative directing visuals along with the camera of the iron gate just before the road/ path to Manderley. Once in, here is nothing but a winding path, somewhat barren-like nature setting, crumble and leafless trees, overgrown brush, trees down; nature takes over. Through use of language and narrative, anthropomorphic qualities are given to the house. Nature encroaches it, and it is described at one point, as having long tenacious fing
  13. The music is very calm and happy-like suggesting the film would be of the same temperment. Love when the woman guest leaves and a gush of wind comes in to open the door for her on her way out. Soon after we are introduced to the porters who with the wind, change the tone of the scene instantly. They bring in chaos and utter distraction with their noise, chatter and arguing, making it difficult for things to remain calm and merrily good. Sound further erupts with the cuckoo clock going off, and the front desk man not being able to hear the person on the phone and giving orders to his guests abo
  14. I see a pattern in opening scenes, for eg. 39 Steps and The Pleasure Garden there is an opening scene in a theatre setting, lots of people, so a very commonly visited public space. Lots of comedy and farce in both as well. We are introduced to important characters here not just everyday people. Differences, well there are many as not all his films start out the same way or in the same location. I'm not sure Hitchcock is trying to introduce a more innocent character that one he normally does. I feel the character is simply more refined and incapable of lashing out. He's more mildly manne
  15. Based on the opening scene, I would say the characters are going to be more important than the plot yet I would imagine this would change. Abbott plays a dummy if you will, but he is not a dummy. Appearances are deceiving.I love this about Hitchcock films. This scene is similar to "the Pleasure Garden"and "The Lodger" in that there are lots of activity in the scene yet different of course, as there is dialogue, lots of laugh lol!
  16. Right away, you notice the silence while she is in the phone booth looking up a phone number. So we too are in that phone booth with Alice. She utters three words in this whole scene sequence, "No, not yet". One tends to watch her movements and wonder what is going on in her head. We hear the busybody that won't leave, talking about the murder while breakfast is being served. She talks about a knife and Alice is asked to cut the bread with a knife and handles the knife just as the other woman keeps speaking and every time she says the word "knife" Alice is shown touching the knife. The wo
  17. Watching the POV shots had an interesting effect on me. First, when the shot comes closer to the accused, there is a feeling of suspense. Its done roughly though, I felt however its a rough woman, falsely accusing someone or so it seems as she is so unsure. That's my impression as she takes forever to lay her blame. It has to be false. I love the POV shot where there is superimposed / layered shots. Its unique even to this day. Not done very much and it draws my attention to the story through her distorted eyes. Its brilliant! The connection I noticed from The Pleasure Garden to The R
  18. He uses many elements to show movement and escalated and distorted images as the husband's temper flare. First we see the dancers, then it escalates to drunken dancing, and maybe running to conclusions that his wife is having a tryst. The piano keys are distorted, the dancing steps get more sloppy, the record player moves towards the end of the song, the mirror reflects movement. There is also quicker scenes towards the end. Tons of ways to enhance movement. By shooting just the character face upon him/her seeing something not meant for him/her to see, you can really feel personable with
  19. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? I noticed a huge difference in the manner of presentation. The Pleasure Garden was not so fast paced as The Lodger. The Lodger was very dark and quick. The Pleasure Garden was more slow paced, and unfolding on its own time. I liked both methods. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mi
  20. Wow, I found myself completely engaged in this film. When the clip ended I was upset. I wanted to see what happened. Would she get her letter of introduction?! It had so much movement of the characters, lots of story lines, great film shots, for eg. the showgirls stepping down the spiral staircase. I just loved it!
© 2022 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...