1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples.
Yes, When a man looking at a lady dancing with a binoculars, and her glaring back at him, it reminded me of Rear Window that would be made years later with Jimmy Stewart looking out in the window with his camrea, while Raymond Burr glare back.
2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career?
I completely agree, Take Sam Rami the director for example, in almost every movie he made, you see his yellow car at least in one scene, that was his signature.
3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue
Yes, sometime you can read their lips or how they act with their body language.
Daily Dose #1: Spiralling into View: The Pleasure Garden (1925)
in The Master of Suspense: 50 Years of Hitchcock
Posted
1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples.
Yes, When a man looking at a lady dancing with a binoculars, and her glaring back at him, it reminded me of Rear Window that would be made years later with Jimmy Stewart looking out in the window with his camrea, while Raymond Burr glare back.
2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career?
I completely agree, Take Sam Rami the director for example, in almost every movie he made, you see his yellow car at least in one scene, that was his signature.
3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue
Yes, sometime you can read their lips or how they act with their body language.