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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 openi
  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 tech
  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
  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
  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
  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. Avoid
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