1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples.
There are obvious beginnings of the "Hitchcock touch" in this sequence of The Pleasure Garden. Flashy women and a steady shot shows the beginning of Hitchcock's obsession with his leading ladies and his one point camera motions. Just like the ladies descending the staircase - viewers are uncertain which path Hitchcock will take them. Are they running to hit the stage or are they fleeing from something? Also, the idea of circus music also sets the tone for the sequence. Hitchcock uses music to set the tone, not to fit a characters action per say. In the next shot, viewers finally see that the dancers are running on stage for a dance number. This shot also introduces Hitchcock's legendary downward shot. I am sure there is a name for this specific shot, but I will have to learn about that as the course progresses. Finally, my favorite shot that shows the "Hitchcock touch" is when the camera goes blurry in order to show the older gentleman's perspective through his failing eyesight. This tiny yet monumental shot seems like to me quintessential Hitchcock. No matter what film I have seen or what I have read on him, Hitchcock seems like one that was never afraid to use different effects to tell a story. It is like how he used Computer Graphics in Vertigo, Hitchcock was always an innovator. I'm sure someone on here knows, but was this effect (the blurry shot) used before The Pleasure Garden?
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?
I completely agree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, and approaches that we will see throughout Hitchcock's 50-year career. I would elaborate more, but I feel the previous replies and Strauss, Yacowar, and Spoto's words are enough.
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?
Obviously, there are many limitations on all silent films due to the lack of synchronous spoken dialogue. However, as I mentioned in my answer to the first question, Hitchcock takes silence as a way to describe the tone of the scene. Hitchcock also brilliantly uses music to describe the tone as well. For example, he creates a happy yet troublesome tone with the carnival music in the first few shots of The Pleasure Garden. When the dancers are moving onto the stage, the music is joyous, but when the camera focuses in on the wandering eyes of the audience, the same music has a different tone.
I am super excited to discuss Hitchcock films with fellow movie lovers and cannot wait to see what the program has in store!
