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About WadeWillsun

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  1. The opening of Frenzy is the polar opposite of The Lodger with equal endings. The music is very British, regal, welcoming you to this grand place as you fly in on the harbor there during 'the longest helicopter POV (Lodger had almost Psycho shrieks with strings of terror), as you glide in, the Bridge there opens up for you highlighting the 'every Hitchcock entrance scene invloves an entrance' touch (in Lodger you feel like that girl was all alone getting got). Both scene's stories jump off at the girl's body being found outside, publically (another Hitchcock touch). This particular opening sequence can 100% be a look at a full circle in his career. If he was planning this it wouldn't be a surprise. It seemed like an almost homesick Hitchcock going back for 1 last stab into his most relaxed setting. The choice of actors I feel had something to do both with part of the British slang, but also the grim context of the storyline. It's possible more famous actors 'would' do scenes like rape etc but probably for more $$$. I really can't help but answer question 3 about Hitchcock's opening scenes without again emphasizing the 'Hitchcock uses Entrances in his Entrance Scenes' argument. This film being one of his most grand with that bridge opening up just for you.
  2. Based on the opening sequence alone, you feel you already know Marnie runs on a 'criminal' element of some sort. If she isn't a spy, she's a grafter with those fake IDs. She attracts 'attention' as she did with Hitchcock in the cameo (could be a weapon and a curse in her story ie. Dye). Hate to say it, but Bernard's score sounded heavily like a James Bond theme. Sean Connery is in the film as well by no coincidence. Secret Agent music-esque. I noticed Hitchcock in his cameo this time looks directly at you the viewer breaking the 4th wall. I don't know if he's done that yet but that technique unites the film and the audience as one. And he did it in the opening minute.
  3. The way The Birds seem more appropriate to a romantic comedy than a “horror of the apocalypse” film is by the opening sequence starting off strange and comedic. Strange (the bird activity), but comedic by immediately throwing the Hitchcock cameo at you at the pet shop and then with Melanie fumbling the correct bird identifications for the new customer Mitch. She seems consumed with Mitch's good looks and is likely the reason for her mistakes if she knows anything about birds at all from this clip. "There must be a storm at sea." is the general atmosphere in regards to the bird activity in the air outside and inside of the pet shop. A lot of activity displayed in the sound. Almost overwhelming. Overbearing the actors. Purposefully. I think Hitchcock's cameo is him saying "I'm more of a dog person."
  4. The graphic design and score definitely set the pace with a chaotic and broken look into the intro. The music literally racks your nerves as it will later in the film. The imagery depicts a 'broken', 'puzzling' 'display'. The date and time could possibly be acting like a countdown towards an inevitable doom (like Hitchcock explained earlier about the use of suspense as supposed to just letting a bomb go off-to explain it, describe it, watch it count down etc.). The semi-closed blinds is definitely a look back into the Rear Window opening sequence (I think mainly because this story is quite the opposite of rear window where the voyeur is no longer the hero, but the villain). The hotel sequence establishes Marion Crane as a main character by the way she was empowered by the dialogue in the scene. The man is following her orders somewhat as she calls the shots on how their secret get aways are going to end.
  5. I really enjoyed this scene. It was very sly. I'm off to go find the full feature now for sure. The preexisting knowledge factor I believe being referred to is the idea Hitchcock has that when an actor is famous in their roles, the audience tend to 'expect' certain roles from them, and this particular role for these two actors who already have filmed together before fit that persona precisely. Do I seem familiar? We just made a movie a while back. Sort of thing. The matchbook seemed almost as a shield to hide to regroup even if for a brief moment. The music was very light and soft...it suited the sway of the flirtatious hints in the dialogue one strike at a time from delivery, contemplation, to reply.
  6. From the opening sequence, I get that the film will be about psychosis caused by a woman. The deeper you go, the crazier it'll become. The music gives the feeling your slipping into a trance. A Dark trance. The music is not 'playful' or upbeat. As the camera zooms in on the woman's features, you can tell this will be about obsession about a woman. A dark ominous obsession further propelled by the music. The eyes are the most powerful sequence accompanied by the music. You can tell at first, the female is not 100% with you looking in her eyes so closely. She begins to look away. Avoiding the eye contact. Then, once it's connected, the spirals begin to kick in. Sometimes, it's best to look away. The musical score suits the scene finely The soft, spooky, repetitious flute accompanied by a follow up dramatic horn blast. Perfect score for a hunt then kill. The prowl, then attack sort of thing.
  7. My first thoughts looking through that window was 1) Hitchcock starts 'every' film with an 'Entrance' and 2) When God closes a door, he opens a window. I don't know why it was the first thing that popped into my head? But it was. Also it made me think of the plot about this man, down on his luck, looking outward to escape from it through his lens and his window. The opening shot immediately begins to establish Hitchcock's notorious second player ensemble who will play a much larger role in the film than you'd originally suspect. The view gives the audience an idea of what Jeff's vantage point is despite the fact his back is turned currently. Everyone was just waking up themselves. You know Jeff is the main character. He's the most 'close' up to the camera. The backstory looks sad for Jeff; crummy apt. broken bones, broken camera, a world trade photo journalist down in the dumps not being able to be at the scene of the next hot story/picture. Surprised empty bottles weren't scattered everywhere. Plus, it's HOT. People sleeping on the balcony hot. I've been there. So you KNOW tempers will be flaring. Sex too. I didn't feel like a voyeur until the girl brushing her hair in the one window, has her bra pop off n she bends over to put it back on. As innocent as it is in her home, to you, the looker, that could be crossing the line to her. So, I think a mixed cast is in there. Some are innocent. Some are not. If you 'look' at all, you become complicit to voyeurism. I can't say if this film is his most cinematic. But I do know it's well regarded.
  8. Hitchcock shows almost an infinite amount of ways the 'double cross' can go: -Open Tunnel at the intro (open ends) -2 Cars enter carrying two different travellers -They are dressed differently (fancy/plain) but their music plays equally as upbeat. -They both enter the gates (entrances/exits-like the tunnel) -Criss-Crossing Railroad tracks -The one character crosses his legs even and the story begins when the other character goes to cross his and is obstructed. There is a great contrast in the characters, one is very 'loud' in a sense, the way he dresses and speaks to others fairly too familiarly. -The other dresses very plain (as in to blend into the crowd-and failing). In this scene the clothes do not make the man. Though Bruno's attire is prominent, the 'star' is supposed to be the tennis player. Traditional Hitchcock 'star turn'. Criss-Cross Curious if this story would even occur if their feet hadn't touched?. (Maybe Bruno is serious about his shiny shoes?) Tiomkins music captures the dueling character's journey from their motions and actions to the speed of the momentum of the scene (trying to get to the train on time).
  9. A female 'victim' of either a hangover or something worse lays before us (German Expressionism), an upside down mystery man is offering drinks, it's a dark opening (Noir). The audience is started in a virtual state of Vertigo and mystery (Hitchcockian), then it quickly begins to add up as these two no-nonsense characters duel in dialogue about the spy industry and their relations in it. The takeaway to the recording was a Hitchcockian take away similar to when he makes secondary characters more prevalent in the scene. Like the Ski Lodge scene (You felt as if you were 'spying' on the couple talking as you watched them listen to her old conversation). The lighting and camera angles put you in the female's perspective watching the well dressed man approach as you are left upside down with her. Messy and unprepared. And negative. ​Her character is quickly defined in that bedroom by her appearance in that bed. ​So is his, by his suit and straight edge style. ​Then it gets deeper. Quickly as the spy world begins to open before your eyes. ​As her character becomes more intelligible, her look becomes more organized also. I don't know either star well enough to say whether or not their roles conform or challenge their personal roles, but both are big names, they came in very strong, and even listened to themselves in a recording. It seems to suit their 'audience draw' attention etc. *I'd like to note the talk about patriotism may have been a personal strike against the US industry and the 'patriotism' underlying elements dragging on after the post war. Possibly a personal commentary.
  10. The casting seemed ok. Nothing out of the ordinary really jumps out at you except for Mr. Smith's head hug seemed aggressive. They seem like a playful happy couple. Almost immature. It's not 'typical' Hitchcock opening although there is some elements: a small mystery as into what's up with them in that room? The door opening and closing, bringing in the audience into pov peeks into the room story wise with the supporting cast. But the light hearted nature of it all: the lighting, music, dialogue (fast, upbeat) made it seem more like the Mr. Memory opening scene with it's 'Light' nature, typically unconventional Hitchcock. Screwball comedy Hitchcock intro? Nailed though 'touch wise'. I wouldn't write in concrete it's 'not' Hitchcockian but it's more of a tight rope act I think due the genre.
  11. The atmosphere set up by Tiomkin with the kids (playing stickball in the street was as East Coast as it can get in film) and the music reminded me of the lil rascals somewhat; playful etc. Then immediately as you meet Charlie, the music dies (childhood), he's playing with a cigar and has money on the floor (innocence). You learn quickly that Charlie is a 'wanted' man by the very nice, honest lady, entering the scnene to warn Charlie of how odd these men were. Charlie looks exhausted. Charlie talks in a dark ominous way (Noir). His life seems at bay, or he is worried it may be. The music then steals each scene by acting out each of Charlie's escalated emotions (anxieties) as he finally decides to step outside n give facing the men a try. Music would definitely there to help the audience 'feel' what Charlie was feeling.
  12. This scene differs from other Hitchcock opening scenes by a man being seen first after a female is heard and a house being introduced almost as a character (Lack of German Expressionism). A life is even saved in the early moments of the film. Not usualy Hitchcock work. The Hitchcock touches would be *I like to note* an 'Entrance' once again used as the entrance scene at the beginning of the film. Hitchcock does this almost every film. Hitchcock's POV camera trolly up the walk to meet the house for the first time was very Hitchcockian. The House or Rebecca may very well be the MacGuffin etc. The house appears to be treated as a character with a 'will' by the dream sequence narrorated by the girl. In dreams we lack control, thus they can easily become a nightmare. The leading female lacks control about this house. And it's expressed even in her dreams.
  13. Hitchcock opens The Lady Vanishes with a nice old lady checking out of a hotel with nice people sitting in the lobby waiting with nice music playing. The moment she opens the door, to exit the scene, the nice music stops, a cold wind blasts inside and two not nice German Men seem to enter arguring making a noisey mess to no music. The cuckoo clock suggested to me 'craziness' as cuckoo clocks tend to. The men who entered were causing quite a disturbing stir literally killing the previous scene's pleasant setting (German Expressionism). The male playing the horn in the cuckoo as supossed to a bird to me suggested the horn of war. WWII implications in a matter of seconds hinting to the 'discomphort' of their presense. Just a theory. *I'd also like to note this is 'another' film where Hitchcock's opening scene is with a person 'Entering' a Room. Hitchcock's Entrance scenes quite often involve Entrances* I found Caldicott and Charters characters help the audience in this scene try to make sense of the civil lobby chaos stirring in the hotel (maybe even just the English speakers), depending on your education which Hitchcock constantly tests. Today's The Lady Vanishes tests your knowledge of language? From foreign to body language. Iris' character was established as the group power leader 'the star' in 'every' way; -The scene was stolen from all the men at the desk surrounding the hotel lobby clerk to Caldicott and Charters being blown past for a formal greeting. -Iris was first to have her hand shaken. -Iris was first greeted. -Iris was first woman to speak. -Iris led the group when they walked. -Iris had the camera draw onto her shutting out the other females during the walk to the stairs. -Iris stood higher than the other girls when they all stood near the stairs, she was literally 1 step ahead of everyone. -Iris 'corrected' the mutli-languaged clerk with 'avalanche' pronounciation (Power Woman move). -Iris is 'the star'
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