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Ktecca

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  1. 1. While the interactions are purposefully "distant", you can tell the attraction is in play. In the first scene Eddy is outward with his affection for MacDonald, she is the "girl of the time" to fit with the playboy character. She is clear that she won't be one of his girls. However in scene 2, it is clear that she is attracted to the Eddy character, more that she wants to convey and is embarrassed by her inability to master the crowd in the way that she is singing. She is too prim to utilize her sexuality to attract attention. 2. This is the first Nelson Eddy, Janette MacDonald movie that I will see. 3. The norms that appear to be expected by the code are that attraction between the male/female leads is expected and normal but yet is not to be portrayed but left to the imagination. Visible displays of emotion are not allowed but implied through dialogue and in this case the music. Sexual attraction while occurring. appears to remain virginal in the code.
  2. 1. I agree the film plays up the brighter perspective as during the depression the theatre may not be filled to capacity nor would money be "wasted" on such an flower display. I also agree with the thoughts of others as to tipping with the 5 pound note. 2. I believe in other Depression clips there will be continued themes of the beautiful woman, competition for talent and using subversion to challenge competitors. 3. Pre-code I would have expected for Ziegfeld to be waiting in the star's dressing room, the star to be more seductively dressed and perhaps a wardrobe change in the dressing room while speaking to Ziegfeld. The "chaperone" would not be present. Additionally I suspect the doorman would have been blatantly bribed with the 5 pound tip for information on the competing producer.
  3. I also wish to thank Professor Edwards and TCM. I have always loved classic films for multiple reasons but I have never looked at them as I do now. What has started for me by your opening the door to the 50 years of Hitchcock films, I will carry into others e.g. really looking at the opening scenes, listening to the crescendos in the soundtrack, watching the camera shots, wondering what importance a prop is going to have later in the plot, watching for the MacGuffin - if there is one. As you stated, knowing Hitchcock made films from the 20's through the 70's is astounding. I wonder what he would have thought about today's computer generated blockbusters. Aldditionally, thank you to all who posted. It was a privilege to read other's points of view. Professor Edwards, I hope you will continue to work with TCM and let them know how well received this course was. I would love to have twice a year courses on the classic films. You have only scratched the surface of what you can teach us. Thank you again.
  4. Four films that come to mind: "The Devils Own" - Harrison Ford/Brad Pitt "Primal Fear" - Richard Gere "What Lies Beneath" - Harrison Ford "The Jackal" - Richard Gere These films all are driven by a MacGuffin but the issues really relate to the psychological suspense related to the characters and their choices/conflicts within the films. They all have an element of a "chase" with a time element looming and in several, the audience has information heightening the suspense, that the protagonist does not. Any of these actors would be excellent choices for Hitchcock to cast
  5. I agree with many of those posted, I would add Jennifer Lawrence as actress; definitely Hans Zimmer, John Williams and James Horner - composers; Christopher Nolan, Alejandro Gonzalez Inarritu - Directors and Hoyte Van Hoytema, John Toll, Emmaneul Lubezki and Wally Pfister - cinematographers
  6. What challenged you the most as a Director in turning the iconic "shower scene" into the basis for the documentary "78/52" and when will we be able to see it?
  7. In the opening scene of “The Lodger” a silent scream indicates a dead body, the scene is dark and panic/chaos is apparent in the crowd with their facial features. The scene was set to appear somewhat chaotic. In "Frenzy", the scene is controlled and purposeful e.g. a public gathering. Even when the crowd spots the dead body, more curiosity than panic is conveyed. Common touches I observed: the Hitchcock cameo, a public location with London introduced as part of the scene, crowds and an early introduction to the focus of the film. In "Frenzy" it appears Hitchcock starts with the body as the McGuffin and draws the audience into the scene as he draws in the crowds watching the politician. The scope is a large crowd rather than a limited scope as in “The Trouble With Harry." This leads the audience to suspect this could turn into something more than just one dead body. The audience is aware there is going to be a focus on the corpse but they are not sure yet whether this is an accident, suicide or something more sinister.
  8. 1. Music is frantic and aggressive – sets up the audience for the pace of the movie that is coming 2. He is setting scene for potentially adulterous relationship at least one out of the norm – at this time both of these people have work obligations and the reference to “lunch” that she brought implies they have done this previously. Voyeuristic POV shooting through the window, reminds me of the scenes of the various apartments in Rear Window 3. Marion “directs” the John Gavin character as to what she will and will not do in the future and what her expectations are for marriage.
  9. 1. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do we learn about the character of Uncle Charlie in this prelude? Be specific. Uncle Charlie appears arrogant and nonchalant as he lays on the bed with his cigar, money on the floor and starring at the ceiling. He suspects someone will be coming for him and doesn't appear to care because "you've got nothing on me." However, in throwing the glass - he also shows an anger that what he knew was going to happen - did catch up with him. 2. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of watching a film noir, what makes the opening here different from the opening of a noir film like Siodnak's "The Killers". (If you haven't seen The Killers it is fine to answer the question in general terms about your own expectations. I have not seen "The Killers" and am a novice into film noir. However, you can discern several things from the opening scene. The room is dark and cheap. Shadows play throughout the scene and opening and closing the shade leads to further changes in the light. The landlady's appearance is "second hand" is contrast to Uncle Charlie's attire which appears very neat and expensive. There also is a appearance of fatalism in that Charlie knew what was going to happen and could not escape the men who were following him. 3. As we move into Hitchcock's Hollywood years, his scores will take on more importance than they did in his British years. Music will play a big role in Shadow of a Doubt. The film's score is by Dimitri Tiomkin, the first of four film scores that he will create for Hitchcock. What effect does the Tiomkin score have on the mood, atmosphere and even the pace of this opening scene? In the beginning of the scene, the music is "just there." It contributes a pleasantness to the scene - not really adding much but suddenly you become very aware of the music as the pace, tone and loudness grabs the listener. It makes you realize there is much more going on than is apparent by the visual clues. It contributes to the feeling of anger in Uncle Charlie as it crescendos and leads you to suspect Uncle Charlie's character is dangerous.
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