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About CathSK

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  • Birthday December 23

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    Fairfax, VA
  1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? The most basic aspect is the guy pursuing the girl, rather than the girl pursuing the guy — which is the traditional way relationships are handled. He does everything he can to impress her; she is annoyed and is “playing” hard to get. He thinks that getting together with her is light and frivolous (at first), but for her it’s a more serious situation. He has to prove himself to her before she’ll consider him a viable suitor. He must be a gentleman for this lady to accept him. How d
  2. What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier)? Instead of a little black book, Alfred has a little drawer full of his paramours' guns (presumably). Alfred is clearly a ladies’ man and has been through the ropes several times before. He knew the woman hadn’t actually killed herself. He knew her husband couldn’t actually kill him. He just stands there and lets the scene play out. Been there, done that. The props are shown purposefully multiple times, as though they are
  3. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. In both scenes, the characters are together, yet separated. In the boat, she is in front of him and has to turn completely around in order to interact with him… which she doesn’t totally do. There, they speak to each other without making much eye contact. In the saloon, they are facing each other, but unable to hear each other speak, and making genuine eye contact with each other. In some ways, in the second scene, they are closer to each other than in the first. The eyes
  4. Forgive me if I get any of my historical “facts” wrong… just thinking through it…: Do you agree that the clip exhibits a brighter perspective of life than might be realistic? Why or why not? The subject matter is very light and “play”ful. Anna Held’s costume is white/light and frilly, the stage set she’s performing in front of is frilly, the song she’s singing is ridiculous, the way she’s singing it is innocuous and coquettish. She doesn’t have a care in the world. Nor do the audience members, as she’s blinding them with her mirror’s reflection of the stage lights – putting them in the a
  5. Well… here are my totally random contributions… - - - - - - - MOVIE: "Identity" - (trailer)motel, rain, psychotic behavior, keys, murder, intrigue, a little bit of humor, and a killer on the loose... - - - - - - - TV SHOW: Murder She Wrote “South by Southwest” episode: (There are many, many other Hitch-influenced TV shows/episodes, of course....) - - - - - - - Speaking of TV… One of the things I’ve realized recently about Columbo is that his movies/TV shows clue us into the murder/crime first, and then we get to watch him put all the clues together.
  6. Hi, everyone... :-) My question(s)... We've learned that: If Alma didn't like it, Hitch didn't do it. So, I'm wondering: Were any of the movies Hitch decided not to make (based on or in accordance with Alma's advice) later made by other directors?... which ones?... and were they successful? And did Hitch (and/or Alma) have any regrets about not pursuing some of those stories/opportunities after all? Also: Were there any movies made by other directors (stories that had not come Hitch's or Alma's way) that Hitch would have wanted to take a crack at directing himself, if he'd had
  7. 1. 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. Music: The opening of The Lodger actually sounds like a frenzy, while the opening for Frenzy sounds refined and reverent to the majestic history of England. In The Lodger, the music makes the death of the woman feel urgent, yet expected, as though the people have been on alert for such an occurrence. In Frenzy, the music suggests that the stateliness of life has been going on. There is peace and calm in the city, and the people seem
  8. 1. 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. Marnie appears to be: Smart. Careful. Experienced. Posh. Clever. Secretive. Beautiful. Fashionable. Ladylike. Worldly. Sneaky. Self-confident. A risk-taker. Conniving. Calculating. If we didn’t know better, she may be a spy performing a mission, rather than a thief. Oh, and BTW… as it turns out she’s a lustrous blonde, after all! 2. How does Hitchcock use Bernard Herrmann's score
  9. Just some random thoughts today… 1. 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? Melanie and Mitch (M&M) appear to be sparring with each other lightly (pecking?), talking about the activities of lovebirds, as if they themselves may be lovebirds. Birds of a feather flock together. :-) Melanie walks with a bounce in her step, which feels comedic and fear-free. The lady behind the counter is a bit of a ditz, talking on and o
  10. 1. 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? The gray lines mimic a couple of things: rows of knife blades and the high and low volume level of music. They slice their way together through the dark background letting in only a little bit of light (white text). Constantly stabbing at you, chasing you… making you go mad (?). I predict doom and gloom… and panic… especially since Hitch i
  11. 1. 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. Cary Grant is handsome, debonair, manly, smart, witty, sly, and a class act. (And other dreamy adjectives.) Eva Marie Saint is ladylike, gentile, strong, clever, beautiful, sweet, and fashionable. The pair are much like their character counterparts. Roger is a dapper ad man with the ability to think fast on his feet and a
  12. 1. 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. The music has a sympathetic romantic feeling about it, as well as caution, fear, and yet calm. The Lissajous figures are flower-like, which is also romantic (yet formulaic). The swirling images pull you in as you focus on what’s at the center of them (the e
  13. 1. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? From the beginning (after the opening credits), we move with the camera through Jeff’s window overlooking the courtyard in the early morning. We don’t know him or that this is his home, yet, but… this sets up our own location. The fact that we do not move from this position, tells us that we are on Team Jeff… stuck here in the room with him until furthe
  14. 1. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific. Attempting to capture these in order of appearance: Background imagery behind credits shows cars passing each other on the road, either from left or right. Bruno exits his taxi sort of from the right. The man who carries Bruno’s luggage enters from the left. Bruno turns left,
  15. 1. What Hitchcock "touches" do you see in this early scene from the movie? Using the camera to show the POV of the characters — drunken Alicia awakening to see Devlin, rotating through his entrance until he’s upside-down. Close-up of Alicia’s face as an intro… and just staying there for a while. Lushness of surroundings, even though the scene is quite homey. Use of shadows and light. Devlin is a darkened figure in the doorway against the bright backdrop of the room behind him. He looks menacing, but isn’t; just to Alicia at the moment. Equal weight of time/focus/lines given
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