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  1. I'm not sure if this is even a good movie but I really enjoyed it thanks to our discussions and class. (I know it doesn't rank up there with movies by Coppolla, DePalma, etc.) I was just amazed and pleased at the number of Hitchcock touches, themes, shots it referenced. Just discovering them throughout the movie was enough. It's currently available on Netflix: In The Shadow Of Iris (2016) http://www.imdb.com/title/tt5598110/ Oh, and of course there's always Stanley Donen's Charade, which does rank up there. Third times the charm, meaning I'll stop re-editing this adding as a
  2. 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. Well, the most obvious difference is that Frenzy is filmed in color as opposed to The Lodger being in black and white. The Lodger’s opening begins in the single location set on a street Frenzy begins with an arial shot, flying down the Thames River allowing a leisurely view of London and the films titles. As others have pointed out, The Lodger begins with a woman screaming followed by cards repeating the words To-Night “Golden Curl
  3. 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 is in the process of changing from one identity to another. She is thorough in her approach, replacing clothing, changing the color of her hair, discarding and replacing previously worn clothing with new. She may have done something illegal indicated by the large amount of money she has dumped from her hand bag into a suitcase. Also she seems a bit arrogant as she appears to approve of h
  4. 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? Emphasizes typical Hollywood “cute” boy meets girl combined with references mirroring romantic meet of Grant and Saint in North By Northwest: Roger not aware that Eve knows who he is vs. Melanie not aware Mitch knows her identity Roger attempts to hide his identity vs. Melanie pretends to be a sales clerk Eve makes clear she desires Roger vs. Melanie being only annoyed by Mitch Eve reveals Rogers true identity vs. Mitch revealing who Melanie really is 1b. What
  5. 1. 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? The combination of the score and titles have always represented the slashing from the shower scene to me, however that’s after watching the movie. Not going any further into the film than the titles the effect is a constant jarring sensation by making the viewer react to the staccato tempo of the music and trying to keep up with the constant ch
  6. 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.") Till this question I’d never considered the idea this was an “in” joke playing off Grant’s and Saint’s fame as movie stars. I always thought of this as a way of Grant’s character referring to his notoriety from being pursued and an attempt on his part to determine wether Saint’s character recognizes him from newspapers as the UN killer. 1b. How does our pre-existing knowledge of these stars function to create meaning
  7. 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. For me, the opening credits suggested the story would pull me into the psychological and perhaps spiritual processes of a woman’s mind. Saul Bass’s slow moving Lissajous Figures combined with Bernard Herrmanns lush hypnotic score as the Lissajous Figures spiral
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