Jump to content
Search In
  • More options...
Find results that contain...
Find results in...


  • Content Count

  • Joined

  • Last visited

About Craig0904

  • Rank
    Advanced Member
  • Birthday 09/04/1962

Profile Information

  • Gender
  • Location
    Mount Laurel, New Jersey
  1. For me, there are a few that jump out quickly: The film What Lies Beneath with Harrison Ford and Michelle Pfeiffer. Dressed to Kill (as mentioned in the Lecture Notes) How about Night of the Hunter with Robert Mitchum? I think Laughton would have been as good as Hitchcock if he had kept at it. My current obsession on TV: Good Behavior on TNT with Michelle Dockery (shifting identities, thievery, dark humor). Michelle's character is fairly close to Tippi's in Marnie. And as I posted on Padlet very early on, Spielburg had said that when 'Bruce' the shark would not cooperate when making J
  2. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. In my opinion, the similarities are the Thames River as a locale. Also, Frenzy begins with a crowd scene which is similar to The Lodger. In The Lodger, we are shown the killer’s ‘signature’ – the note that says The Avenger. In Frenzy, if you look closely, we can see the necktie floating around the victim’s neck. The necktie being the killer’s signature in Frenzy. We are not immediately introduced to a main character as part of the crowd
  3. I’ll be honest. I’ve only seen Marnie once, many years ago. I don’t remember being very impressed. I think it may be time to re-watch it with a fresh perspective. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects. Based on the opening scene, the character of Marnie is completely in control of her actions. There is nothing hesitant in her movement. When we do see her face, which is not often in the opening scene, we do not see fear; we see pu
  4. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? This is scene has so many of the elements of a romantic comedy. There’s an immediate physical attraction on the part of both protagonists. Their first encounter begins with verbal sparring and a match of wits. There's a slight case of mistaken identity. They flirt and get underneath each other’s skin at the same time. To mix things up, an incidental character is added to the scene – eccen
  5. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? For me, there are a few elements to the opening credits that really set the tone. First – the speed. Everything – the music, the graphics move along at such a rapid pace. And if in reality, the titles are going along at a normal pace, it’s the graphics that seem to increase the acceleration. The music (as mentioned, comprised only of strings) co
  6. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. In my opinion, the general-public is only now getting to know who Eva Marie Saint is. This is early on in her career so there isn’t much pre-existing knowledge. She gets to play a role; whatever role she needs to play. She is playing a beautiful femme-fatale named Eve. Is it mere coincidence? Eve - the first woman; guilty of the
  7. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. Like I mentioned in yesterday’s analysis, the eyes are the windows to the soul. Once again, Hitchcock uses this concept quite well, but even more disturbing in this case. What I get the from the title sequence images is that that the film will be about dizziness an
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...