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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
  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 poin
  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 f
  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 t
  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, typ
  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
  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 MacGuffi
  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
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