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About GromeksDeath

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  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. Though both openings involve murder, the crowd in Frenzy are fairly calm. Lot more panic and chaos in the opening of the Lodger. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. Some common elements found here are a famous landmark, a crowd setting and of course murder and a cameo. 3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mi
  2. 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. We discover that Marnie is a dishonest person. Stacks of cash, multiple identities & changing hair color adds up to something fishy. How does Hitchcock use Bernard Herrmann's score in this scene? The musuc creates a mood of suspense or perhaps intrigue. Upon fist seeing Marnie's face, the music accentuates the reveal. Did you see any variation in what Hitchcock is doing with his ca
  3. 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? Seems just a casual day in a pet shop with friendly flirtatious dialogue. Funny Melanie is trying to mess with Mitch yet he is onto her and has a little fun of his own. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? I suppose with a film called the Birds, what better soundtrack
  4. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? It's no secret that Herrmann used an all string score to emmulate screaming or screeching. The Bass titles come in with a stabbing motion which of course we see later in the shower. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” Wha
  5. 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. Perhaps since we are familiar with the stars, it feels like we are out with a couple of friends. With their flirtatious conversation having us think "get a room already" There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In
  6. 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. With the repetitive creepy music accented with dramatic horns and the trippy visuals I would guess that the film would be a mystery and deal with hypnotism. In your own estimation, what is the single most powerful image in this title sequence? Defend your answ
  7. 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? By scanning around the incredible courtyard set and all of the walks of life that reside within this complex and ultimately seeing Stewart's broken leg Hitchcock establishes that this film's location may exclusively take place here. Despite Stewart's back to the window, I still feel we are seeing his vantage point since it is his apartment. What do we
  8. 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. We see train tracks crossed, legs & fingers as well. The two characters' paths are also crossing. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, to clothi
  9. What Hitchcock "touches" do you see in this early scene from the movie? The use of light and shadows, also angles (especially that pov tumbling shot of Devlin as he approaches the bed). How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? The scene starts with film noir style with shadows and light. Both characters are partially hidden. Hitchcock sets up the contrast between the characters by having one hu
  10. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? A sweeping shot of the room is a Hitchcock touch. Of course tjere are his two favorites in there as well... food and a blonde. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? I wi
  11. 1. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. He has a cool head. He doesn't seem worried when the woman tells him people were looking for him. He thinks he can outsmart eveyone. His demeanor and the cash out in the open on the table and floor eludes that he has obtained the money in a dishonest manor. 2. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from the op
  12. 1. Describe how this opening is different from the multiple opening scenes you have seen in the Daily Doses from the British silent and/or sound period? Insread of a character filled opening sequence, Rebecca opens with a narration over a tracking shot of Manderley. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? Use of shadows in the beginning, then suspicion is instilled with a man seemingly pondering suicide. 3. How does this opening sequence use Manderley--the house itself--as a kind of character in
  13. 1. Using specific examples, describe how Hitchcock opens The Lady Vanishes. What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay particular attention to the music. The tone is a fun and lighthearted. The hotel clerk is quirky and Caldicott and Charters are hilarious. The music aids this opening theme as it is carefree. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. These two characters are great in this film. They are quite comical and
  14. 1. Now that you have seen multiple openings to Hitchcock's British films, how does this opening both fit a pattern you have seen previously as well as deviate from other opening scenes? Pleasure Garden & 39 Steps both open at a hall with folks assembled to partake in some entertainment. I love that we first see Robert Donat from the waist down then when we finally see him above the waist and it's from behind. Instantly we wonder who this man is and antcipate what may happen. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing
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