1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene?
I appreciate the way Hitchcock uses editing to convey the frenetic pace of the party going on. By cutting from dancers to other revelers to piano keys to blurred human images, one is drawn into the somewhat disturbing, drunkenly frantic scene. His experimental style is on full display here.
2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock uses to create that feeling of subjectivity.
The main character is tortured by jealousy, emotional turmoil and inner conflict. Hitchcock highlights this by superimposing a scene of the man's impression of his wife flirting with and eventually kissing his rival in the other room with a scene of his promoter trying to convince him to begin training to further his career. The other men in the room with him are paying no attention to the debauchery in the next room; it is driving him nearly insane.
3. How does Hitchcock stage the action, use set design, and editing techniques to increase the stakes in the rivalry between the two gentlemen?
I thought that the device of the mirror Hitchcock uses - with which the protagonist sees what might really be happening or might only be happening in his tortured imagination - is an effective and intriguing one. The serious meeting happening in one room contrasts sharply with the boozy party in the next, and this plot device really ramps up the tension and desperation we can see in the boxer. He looks like he's about to break down. His rival has truly become "the enemy".