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About cynthiag

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  1. For music, Hitchcock certainly could have continued to work with John Williams, and I can also see Danny Elfman or Alexandre Desplat. For costume design, Catherine Martin does wonderful work but I can't imagine Hitch wanting to share her with Baz Lurhmann. I'm thinking Tom Ford, who's also a director and would clearly relate to Hitchcock's love of elegance and his experimentation with color to portray a psychological state. For DP, I think Hitchcock would love the technical mastery of Emmanuel Lubezki as well as his willingness to experiment, but he might not like the high profile he's deve
  2. Several people mentioned Ghost Writer, and I absolutely agree, but I think Polanski was influenced by Hitchcock across his body of work. Rosemary's Baby...the much-discussed shot where Ruth Gordon is on the phone in the bedroom and audiences leaned to try to see around the door is very Hitchcock...and The Tenant, with its echoes of Psycho and other Hitchcock doubles, a neglected but very creepy horror film. Body Heat's (Kasdan) Hitchcockian plot has been mentioned, but there are so many Hitchcock images throughout that movie, and music (and the chimes) are extremely important as well. Lookin
  3. Hitchcock immediately brings us into the film as voyeurs with the opening sequence. We're in Jeff's apartment, and what we see would be his POV, were he looking...but while we initially assume we're seeing what some main character is seeing, we soon find out Jeff's asleep, and in a sense we're seeing for him. This happens at other points in the film as well, when we see things he isn't. It's also similar to the opening of Rebecca, when the POV switches around from one character to another on the cliff, playing with our assumptions after initially being clearly the POV of the narrator. Hit
  4. The Dutched angle on Devlin in the doorway is reminiscent of the houses in Shadow of a Doubt, followed by the spinning-upside-down camera work giving us a POV of Alicia's literal view as well as her hungover state. Keeping Devlin initially in silhouette carries through the ominous introductory shot of him in the party scene. We're initially seeing close-ups of Alicia and longer shots of Devlin...we're getting to know Alicia, while Devlin remains more of a cypher, and of course we can appreciate her beauty. Hitchcock uses the star quality of both actors and twists their personas to help tell hi
  5. Often Hitch opens in public places and with multiple characters to give us the illusion that things are safe...we only become aware of any menace or anything that's off as the action unfolds. Here we know right away something is very wrong, with the moody music, and the narrator's description of how nature has overtaken what we soon discover is only the shell of a house. The end of Manderley, and the characters' lives there, is already foreshadowed. We do still have the POV shot, the creative use of shadows right from the first transition where they seem to lift like a curtain rising, the ca
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