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About TCM_Film_Fan

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  1. What a great summer of all things Hitchcock! This course has been incredibly insightful and really gave me a new appreciation for the true master behind the scenes. I wasn't familiar with his silent and/or very early days at all, so it was very enlightening to see clips of films like "The Pleasure Garden," "The Lodger," and "Blackmail," etc. I never even knew they existed until this course! I had stumbled on "Family Plot" in the wee hours of the morning on TCM last summer and loved it. Missed the credits and had no idea it was Hitchcock, so that was one of the many, many things I've learn
  2. I would say "Niagara" from 1953, starring Marilyn Monroe and Joseph Cotten (directed by Henry Hathaway). It seems to have several Hitchcock elements, starting with a famous location and a blonde beauty up to no good.
  3. What actors who are popular today would be considered the "type" Hitchcock would choose for his starring roles?
  4. The opening scene of The Lodger has a frantic, terror-filled vibe, with the first visual of the woman screaming into the camera setting the tone. The crowds seen in The Lodger are clearly lower-class by their attire, while the crowd in Frenzy appears well-dressed and affluent. We see police rushing into action in The Lodger, yet Frenzy has an almost casual feel to the discovery of the body...."Hey, look!" The rolling view over the river into the heart of London is in true Hitchcock POV fashion. We are treated to a fantastic birds-eye view, as we sweep along the river. The regal/royal
  5. The viewer sees expensive items being carefully packed into an exquisite suitcase, which is next to an older piece of luggage where worn clothing is being carelessly tossed. The last item added to her suitcase was bundles of money, which we suspect may be stolen by the scene we are shown. With the fanning of the Social Security cards, we know the character has several identities. It's notable that Hitchcock appears to have an obsession with names starting with "Ma," as we see Martha, Mary, Margaret and Marion on the cards. Of course, the lead character is Marnie, right in line with the oth
  6. The violins are played in a unique way in the opening score, making them sound like motion associated with stabbing (or quick, jolting movement). Coupled with the sharp music, there is a cutting, scissored pattern appearing as the credits roll. The tone is set as frenzied and chaotic, and intentionally makes the viewer uneasy. The mention of day/date is notable, in that we know it's a Friday going into the weekend. The time of 2:43 becomes significant when we hear Marion say that check-out is at three. The viewer once again becomes a voyeur to the hotel room scene. The opening sho
  7. Viewers know Cary Grant's ease at being dashing and charming, even in his off-screen persona, and we almost see a natural attraction between the two. They are well matched in this film, as viewers are treated to two of Hollywood's hottest stars together on screen. It almost doesn't matter what they're saying as we watch them interact. When the camera goes to a close-up of the matchbook cover, we see the ROT initials, and know this prop may be significant later in the story. According to Roger, "O stands for nothing, " which adds a bit of intrigue to his character. Eve is using the mat
  8. The opening images and musical score give the impression that something ominous has happened, or is about to happen. The scrolling figures are hypnotic and trance-like, easily drawing in the viewer's full attention as the credits roll. The plain, square text of the names is a stark contrast to the Lissajous figures. The single most powerful image is the close-up of the eye, just before it spins into the title. The extreme close-ups, along with the other partial images inserted, are meant to make the viewer feel unsettled. This title sequence is a brilliant mix of graphics and
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