1. Beginnings of the "Hitchcock touch"?
Hitch is a genius at giving the audience a "point of view." Apparently, after watching 4:21 of Pleasure Garden, he's always had this gift, this special touch. Notice how the lecherous man first uses his binoculars to scan the dancers legs foot to top. You clearly see the Point of View of the man leering at the woman through BOTH eyes. Conversely, as the man switches to his monocle we see what he sees through one eye, fogged by sexual desire. Hitch shows us what he wants us to see, puts us in the movie. His use of shadow also forces the viewer to see nothing more than what Hitchcock wants: the purse.
2. Strauss, Yacowar, and Spoto assessments? Humor. Point of View. Lighting/Set design.
3.Any limitations without spoken dialogue? In retrospect, we see narrative and dialogue cards as choppy and clunky. But without an alternative at the time, the audience quickly adapts and is eager for the information. Hitch's narrative cards are not "see dog, say dog" he advances the story. His dialogue cards are tightly written, to the point, demonstrating personality, emotion and humor.
