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About mandyhnandez

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  1. 1. I believe that the first film I saw Garland in was The Wizard of Oz, as it is a children's classic, and being small I probably didn't think to much about her at the time, except that she was a good singer. Based purely on that movie, now that I am older, I would say that even in that early role she not only had a beautiful voice, but she was able to convey what she was singing with emotion, and you can feel her longing coming out of the screen. 2. These two clips really show off her diversity - Garland could play the young, flirtatious, piano playing ingénue, or she could play the comedic scoundrel off the streets, the comic relief. Either way she was able to play off of her costar and let them bolster her own performance, especially with her dancing in Me and My Gal, and either play to the camera (and audience) in Easter Parade, or be completely oblivious and focus her attention on a candid scene with simply her and Gene Kelly, performing their number together for themselves. 3. As many people have said, I would credit A Star Is Born as one of her best later films, where her skills are deepened in a more dramatic and tragic role, as well as her song and dance numbers. However, I would also say that the amount of distracting sub plots in the songs that do not directly further the story (such as the entire 'born in a trunk' sequence) do lower the quality of the movie a little bit. There was nothing wrong with the quality of those numbers, but I think because the studios put them in mostly to show off Judy's voice, the main plot and substance of the movie, which she was so good at portraying, got lost. I think in that way the studios did not let Judy live to her fullest potential as an actress as well as a singer/performer, and the movie got a big bogged down in the conflicting styles.
  2. 1. All of the little details promote America and America's ideals, from the large pictures of the presidents on the walls and the flags scattered about to the pictures of classic war ships on the walls, and of course the entire 4th of July parade. The pictures honor the past, what our Founders established, and the large rooms represent freedom as well as inspire awe. 2. The dialogue praising Irish Americans, a group highly bullied by the Nativist party in America's early years, "that's one thing I've always admired about you Irish Americans - you carry your love of country like a flag, right out in the open. Its a great quality," reflects the effort to unite all Americans together for the war and boost the patriotic effort, as well as the friendly conversations between the black butlers and Cohan. Things in the dialogue also reflect family values and things passed down over time, like the vaudeville tradition (and war-time involvement) through the Cohan family, the American values, and how Cohan's songs "were as good now as they were back then." The cinematography also lends to creating an approving atmosphere of America and all that it stands for, because we never see FDR's face, and that added to FDR's deep voice and Cohan's humility and nervousness when talking to him openly, like a confidante, and telling his story, makes for a God-like feel, as though Cohan were telling his story to the old and wise, loving God. 3. This opening creates a unique way of connecting the president with the people, and brings the president right into, if not their homes, their theaters, up close and personal. It is more like a conversation than an advertisement, and makes Cohan seem more like a real person than if the story started the story at the parade and his birth. It also provides a reason for the story to be told, and when Cohan states that he learned many things, the audience looks for a moral or point to the story, a lesson he took away from his life and will tell the president. Starting at the parade would be another cookie-cutter beginning to a movie and very transparent as a patriotic movie, and even though it continues to be so with the beginning and end scenes, the opening in the office gives more of a justification and meaning to the patriotic sentiment, a believable opening to the telling of the story of one man's life. (And I will also add that just for the fun of it, without the oval office scenes, there would be no spectacular ad-libbed tap dancing descent down the stairs!! James Cagney really knew how to do it right, folks)
  3. 1. Other aspects of the 'battle of the sexes' in this clip include the initial back and forth during Astaire's attempt to woo Rogers - his objective is to win her affection, and hers is to make him leave, or at least resist giving him any affection. And within the dance itself not only are the repeated steps a 'battle,' but also just the way they dance together. There are only a few instances of them touching while dancing, but almost all of them have Rogers as a lead for some of that time, adding to the 'tug of war' between the two characters 2. This movie (scene) is definitely far less 'typical' or idealized as far as the relationship between man and woman. We did see the woman in Rose Marie as a bit of an individual, but there was still that standard of men wooing and women being wooed. Here, however, Rogers isn't even dressed like a woman from her time, and she has almost no initial romantic interest, seeing him as an equal and possible friend. It is a big shift in that respect, as well as her non-responsiveness to his singing, which typically captured women's' hearts. The setting is also a bit more realistic, in that they are not dancing in some lavish apartment anymore, but what looks like a gazebo or picnic area. 3. The reason for these changes might be that people, having just exited the worst of the Great Depression, wanted a change of pace, and something more realistic that they could empathize with. The times were changing, and film must change with it. The time period was also approaching World War II, in which many women played an active role, and the passive wooed woman or flashy performance girl were quickly fading into the background, and no longer as big of an ideal. Ideals were changing, and people might have wanted something easier to relate to.
  4. 1. The Lubisch touch includes the specific cuts to particular objects and props in order to further the story, such as the pistol, garters, and gun drawer. It also includes various things to engage the audience more actively through the use of music, breaking the fourth wall, focused shots, and the translation between languages. We are given a look into Alfred's character through what he tells the audience, how he interacts with the woman (lying to her, then trying to get her back, then nonchalantly letting her go), and his interactions with the man and the pistol drawer (which in itself tells us a lot about Alfred, no dialogue necessary). 2. The use of sound in this clip is both innovative and also a throwback to silent film. Right after the French woman is shot and is presumably dead, her husband rushes to her, and when she doesn't move, and he looks up to see Alfred, the music kicks up with a threatening theme by the strings. Similar to the Jaws theme, the sounds combined with the glare that the husband gives to Alfred uses the music to convey hatred, desire for revenge, and blame. This was the only way to convey emotion and motive during silent films, and is effectively used here. It is also innovative, however, in the way that each sound, like this one, has a purpose and a meaning, and is not simply filler, as much silent film music was. 3. Similar themes I might anticipate would be that of men fighting over a woman, misunderstood identity, and wealthy couples who are not in love
  5. 1. In the first scene, the interaction has a definite direction because of Nelson Eddy's character's objective. He is trying to woo Jeanette MacDonald by one-upping the other man that she already likes. He is following a traditional way of courtship, singing to her as a guitar player might serenade a woman in fair Verona under her balcony, and seems used to the way she expresses little interest - what he may see as playing hard to get. Jeanette, however, truly does show no interest until he sings to her, and only after she is impressed by his voice and his humor does she play along and smile. She respects his talent and the effort he goes through to get a positive reaction from her. In the second scene, the interaction has little direction concerning the two of them directly, it mostly revolves around her in a new situation, and he comes in later and watches her. They do interact, however, just indirectly. She is obviously flustered and embarrassed by first her unsuccessful attempts to sing to the crowd and secondly what she knows she will have to do to engage them, and leaves when she realizes this and sees Nelson watching her. She doesn't want to appear as 'that kind of girl' to him. He, however, feels sympathy for her position as he sees how uncomfortable she is, and because he leaves to go after her it is apparent that he respects her for trying to fit in but ultimately refusing to 'stoop down' as the other girl did. 2. I have not seen other films with them 3. This era seems to support the classic, sophisticated form of courtship that goes far back into time, where the man shows off what he can do to impress the girl, and she is expected to not be overly eager, but play hard to get and make him work for her affection. This is one of the most important tropes under the Hollywood Code. There is a bit of a modern twist, however, in the way that humor an wit are infused, and the active role of the female in the relationship does seem a bit more pronounced and important than it might have been far earlier.
  6. 1. I would definitely say that it exhibits an unreal bright perspective of life, as many things that would be more negative in tone are either brushed over and laughed off or over-exaggerated to be funny. For example, when she shines the mirror into the audience, personally that would be annoying and possibly painful, but she laughs it off as part of her song. The whole song, in fact, is simply about playing and having fun, like she is a little girl instead of a woman, which we also see in the dressing room with things like the Jr joke that portray her as naïve and indecisive. The competition between the producers is over-played to be humorous, such as when Billings physically reacts to seeing Ziegfeld, and his facial expressions are anything but subtle, and far more dramatic than would actually happen in reality. 2. Themes that I would anticipate in other musicals from this era would be slapstick comedy (like the 5 pound joke), light romance/flirtatiousness, references to childhood and adolescence (Jr joke, song about play, how Anna has a maid who reads to her as wells as helps her dress), and friendly/ridiculous competition between two men (the producers). 3. If this film were made pre-code, there would probably be more revealing costumes on Anna, slightly more adult humor instead of puns, and a touch of realism concerning Anna and the men. If the regulations designed to make films more uplifting did not exist, the film might portray the men as more bitter towards each other and Anna as either more grown up, more manipulative, or both
  7. Someone earlier mentioned ​Mission Impossible:II​, which I would agree is very much like Notorious, from the plot line of a woman seducing an ex to spy on him for the government and the agent she loves to some of the locations of the scenes. Where does she secretly meet the agent? AT A HORSE RACING TRACK, exactly the same as in Notorious.
  8. 1. ​The Lodger​ opens with a screaming girl who is immediately found dead in the streets by an old woman. ​Frenzy, ​however, takes more time before there is body, and opens in a touristy way with triumphant music and long pans of England. A politician then speaks for a couple minutes about cleaning the rivers when ironically a man sees the body of a woman floating in the water. This opening gives more context to the story than The Lodger​ did. ​2. Some Hitchcock touches would be how the opening is set in a public place, his cameo, and a dramatic opening where some bad event or discovery occurs. It is strange that the music does not set the pace for the entire movie as he often does, as it is happy and not ominous. ​3. Hitchcock probably wanted to start in a public place so that the audience could feel that bad things could happen anywhere, not just in private, and to be on the look out. He opens in public spaces/entertainment venues in ​The Pleasure Garden, The 39 Steps, The Man Who Knew Too Much (both), North by Northwest, etc. ​​​Using title credits with scores is used in almost all of his 50's and 60's films- we even get the disjointed title of Frenzy like we did in Psycho- and this can be used to set the mood for the film and communicate it's themes. The cameos are probably just for fun.
  9. ​1. We know from this scene that Marnie is a thief, and she uses several different identities to presumably steal from many different places as different people. She has many different social security cards/numbers and we can tell that she does this a lot because of how confident she is. She walks to her room confidently, and goes through the routine of washing out her hair, changing clothes and suitcases, and getting a new identity, calmly. She is even smiling and smug when she washes her hair out, and seems in no way stressed about being caught, even when 'losing' the key in front of everyone. ​2. The score is very reminiscent of Vertigo to me, like the love scenes between Scottie and Madeline, which seems very fitting because just like Judy's character in Vertigo, Marnie is also in disguise, using a false identity, not who she appears to be. It is also similar to Psycho, especially when paired with all the visual hints like the money, the name Marion, and the hair dye. ​3. Hitchcock breaks the fourth wall in this cameo, something pretty rare for the time, and I think that could signify that he is welcoming us to spy on Marnie's story, aware that we know it is a film even if Marnie does not. This could also be another voyeurism theme? because we are seeing crime like in Rear Window
  10. ​1. This film seems like it will be a romantic comedy at first because there is only a brief encounter of the birds in the sky before it becomes secondary to Melanie and Mitch's playful banter. She obviously does not work at the store but does not correct Mitch and continues pretending to knw what she is talking about just so she can talk to him, which is comedic. He also wants to purchase love birds specifically, and goes along with her pretending just to be flirty and to keep talking to her. ​2. At the very beginning, the sea gull noises are relaxing and make me feel like I am at the beach, although it is a little overwhelming and odd because there are so many of them, all being really loud. Then when we move into the pet store it is just as loud, except with many different kinds of birds. They obviously do not like being caged and Mitch brings that up, asking how Melanie feels about keeping them trapped (ironic because the free ones will end up attacking them) but they do not seem overly menacing- more begging than angry. ​3. I didn't make anything out of the cameo except that Hitch is using doubles again like he does with the love birds. And he loves his doggies
  11. ​1. The score is very intense and unnerving, and you are increasingly aware that something terrible is coming up really fast. The words are very disjointed, showing that they (and Norman) are not put together right, and are definitely not normal (woah that sounds like Norman, is that irony intentional?) and stable.The lines in the title design are in almost constant motion, moving up or down, and are franticly trying to escape something. Escape is a huge theme in this movie because not only is Marion trying to escape the police when she takes the money, and her murderer in the shower, and her guilt of stealing even though she already went through with it, but there is also Norman, who is trying to escape his mother (both literally and figuratively.) The vertical lines could be the knife, water, and impending death, while the horizontal lines are the blinds through which we first see Marion, and the car driving to the infamous motel. ​2. TWO FORTY-THREE PM tells us that what we are about to see (Marion and Sam sneaking around) is happening in the middle of the day, 'broad daylight' so to speak, and FRIDAY tells us that it is close to the weekend, a prime time for Marion to 'go home sick' and run off with the money without its absence being noticed for a few days. It gives her enough time to have a head start escaping without being suspected, and have time to cover her tracks and go somewhere unnoticed. This shot is reminiscent of many Rear Window shots, and definitely makes us feel a bit intrusive, seeing something we are not supposed to see. ​3. The very first person we see in Marion in her entirety, while we only see half of Sam, standing up. She is also in the very middle of the shot, which shows to me that she is the most important person there and the main character. She is also the one who is more concerned about their relationship out of the two of them, which has great plot potential as to what she might do to relieve her guilt of sneaking around during lunch hours with Sam.
  12. ​1. Grant does indeed have a very pretty face, and his character is typically suave and witty, just like he is in this scene. He is often times in comedies though, so that is one difference. I have not seen any of Eva Marie Saint's other movies, but based on how Cary told her she would not have to cry in this one, I assume that she was more used to playing more outwardly emotional characters, much different from this role. This gives the audience both sides of the spectrum - seeing one actor doing what he does best, and the other completely reversing roles and trying something new, but amazing. ​2. The ROT matchbook is key to the plot later on, and does allow Grant to admit he is the wanted murderer, Thornhill, without actually saying it. It also gives Eve the chance to touch Thornhill and add to the seduction she needs to get him into bed. ​3. The sound design makes the train seem ordinary and realistic, with dishes clanking, and the sound of the tracks as well as the shaking set. There is background music, subtle, yet romantic, which shifts to one of the main musical themes of the film (the love/romance/seduction theme) when Thornhill has grasped the meaning of Eve's hints about not liking her book, and it being a very long night. ​P.S. This film also reminds me of Saboteur, and I think that should be added to the list of double chase movies like The 39 steps. Also, did anyone else notice that the camera shifted to close-ups as soon as Thornhill was told he was seated there on purpose? I think it was because it introduced a level of intimacy to the two characters.
  13. ​1. Even if you didn't know the plot of the film, the opening credits can already tell you the emotional side of the story for Vertigo and set the tone for the whole movie. The music is intense and pulls you in, and accompanied by the swirls and the woman's face, makes you feel fearful but intrigued. It also has a dizzy feeling, and visually illustrates obsession in that Scottie's thoughts are in a constant loop that always lead back to Madeline. 2. The most powerful image in this sequence for me would be the close up of the woman's right eye, when the red light shines on it . This part just gave me chills because the red can mean fear, danger, and obsession, and when it is shown on the eye, the woman's pupil dilates and her eyelids open wide, and it makes you afraid not only because of what might happen to her, but to you as well, because what she is looking at seems to be directly behind the audience. It makes you just shrink in your seat and worry even though you have no idea who this person is, and I think that is what makes it really powerful. ​3. Let me just say that I absolutely love how the score works together with the images. Not only do you see spirals, but the music, going up and then down and then up again and down again in pitch, creates circles and spirals of sound. The way there are sudden loud notes from the brass that fade into quiet is also reminiscent of falling, whether that be in love/obsession or down a flight of stairs. Any other musical score would just not work because it would not unite the idea of spirals and the emotions of fear, dizziness, hypnotism, and obsession, through both sound and sight the way this score does.
  14. ​1. I guess I would describe the opening shot of the film as interesting, and wow is it detailed. Hitchcock really put in the effort to make real apartments, and make the audience feel like those people actually live there. It has everything from the backdrop of the New York skyline to kids playing in the street, and a truck driving past, not to mention the flowers, white birds on the roof, and weathered look of the bricks. It establishes the entire world of this film - everything Jeff can see, we can see, no more, no less. This is the viewpoint of the audience and not a specific character, because Jeff is asleep. This only adds to the 'play within a play' feel for the entire movie, as we are watching him watch others, and the viewpoint never leaves that room. ​2. From the simple camera panning of the room, we not only learn that Jeff is a professional photographer, but that he likes to live dangerously. There are camera lenses and bulbs laid out neatly on a table, and several framed pictures that were presumably taken by him. We know he is a risk taker because most of the pictures are of high-action incidents - a car crash, a bomb, an explosion. There are also the remains of a smashed camera, which we can assume happened when he broke his leg, and a stack of magazines with a picture of a woman on them. He has the same picture framed next to the stack, but with a different filter (is that the right word?), showing that he knows this girl and she means something to him. This all through visuals, in the silent film style that Hitch loved. ​3. This scene does not make me feel creepy, like I am intruding on these people's lives, or immobile in any way, but rather it draws me in and I am intrigued. I am curious to know more about these people who are all so different. I suppose I might be a little nervous to see things I shouldn't, like when the camera sees Miss Torso half naked, but overall it just seems natural and human to observe other people and their lives as long as its not an obsession. ​4. I actually own this movie, and yes I would agree that this is his most cinematic film because, like I mentioned before, it is like a double movie. Jeff is like the audience, watching his neighbors and all of their little side stories, and is in the same position as us. It is only when he interferes that we are then watching his story too as well as everyone else's. There is also all of the theatrical language that Kelly uses in one of this scenes that was mentioned in the lecture video.
  15. ​1. The criss cross metaphor is used in several different ways in the opening scene, starting with both men getting out of their cabs. They arrive at the train station from different places, and the criss cross begins when white shoes (Bruno) walks left to the train station entrance while black shoes (Guy) walks right. The eventually end up going the same way, which is where they 'meet' before actually meeting. Then comes the train tracks, as mentioned in the lecture video. After that, they walk to their seats still from different directions, Bruno going left again, Guy going right again. Finally, not that this might have any symbolic importance, but it is interesting nonetheless, they both CROSS their legs, and that is how they bump into each other and meet. ​2. Some contrasts between Guy and Bruno - Guy is dressed formally, tie tucked into his jacket, and even walks straight and tall. He is not very social or conversational, and says only the bare minimum to Bruno. Bruno, however, is far more casual and laid back. His tie is out, with his 'corny' name pin on, his clothes are more loud, and even his walk and stance getting out of the cab is relaxed and easy. He is also very social and not only initiates the conversation with Guy, but shifts to his side of the train and sits next to him. There is also the back/white shoes contrast at the very beginning, of course. ​3. The theme that is repeated throughout the scene gives it a fun, interesting feel, but when both men are walking to the station, the music takes the pace of the footsteps. It is not quite marching, but it is enough to give the audience the feeling that something big is going to happen, and the music is 'leading' you somewhere just as the people on the screen lead the camera behind them. Both men get a jazzy intro when they step out of the cab, but they are not different in any way, so I'm not sure if that is supposed to mean something.
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