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About lizzya

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  1. The two that come to mind would be composer Alexandre Desplat and director Stanley Donen. I picked Alexnadre Desplat because of his music for some of the Harry Potter films. I thought he would complement a Hitchcock movie nicely, with the experience of extraordinary music for extraordinary scenarios. Stanley Donen, I thought, would also be a nice complement to Hitchcock because of his movie Charade, which is called " The Greatest Hitchcock movie Hitchcock never made". My third pick would be, if he was still alive, would be Stanley Kubrick. I would choose him because of The Shining and his essence of a Hitchcockian mindset.
  2. The first one that comes to mind is Cape Fear, starring Gregory Peck and Robert Mitchum. This is like a southern Hitchcockian thriller, with Mitchum playing Max Cady, who stalks Peck and his family. Plus, there is a very Hitchcockian score done by Bernard Herrmann.
  3. My question is for both Dr. Edwards and Mr. Philippe. If you had to pick one Hitchcock movie as your favorite, which one would it be and why? - Lauren Applegren
  4. 1) The opening of Frenzy is different than that of the Lodger because, with Frenzy, it lacks the visual of the murderer, the victim alive, and the police treating the area as a crime scene, all of which are in the Lodger. Another difference is that Frenzy’s opening is in the daytime, where the Lodger’s opening is either at night or in the early hours of morning. One final difference between the two is that with Frenzy, a normal day is occurring along the banks, when the body of the lady floats by, compared to in the Lodger, where the body was already the central focus and already present. 2) The two touches that I see of Hitchcock’s is the bird-eye/tracking shots that open the scene and the fact that the scene is set on the river banks, a common place in England. 3) With Hitchcock’s opening scenes, it seemed that there were some consistent purposes for their origins. One of these purposes is to establish that bad things can occur in normal places and areas. Another purpose is to set up the story from the start, like introducing the McGuffin or giving information to the audience that the characters do not know. Both of these I feel are the most repeated with in his films, which for me, increases the suspense and dread because he is playing with fears, and the fact that anything can happen anywhere.
  5. 1) With the sequence alone, Marnie appears to be a complex, manipulative character, willing to do anything or be anyone for her progression and benefit. Visually, you can see her complexity through the two suitcases, one being messy and the other pristine, the compact with many social security cards hidden in it, and the new wardrobe in the clean suitcase, while her old clothes are strewn in the other, in addition to the hair dye. Through all of this, you can visually see Marnie getting rid of the old identity and bringing in the new one. 2) The way that Herrmann’s score is used in this scene is to help build the mystery and anticipation of Marnie and her complexity. The score starts out low and slow, which, for me, establishes the mystery and lack of understanding surrounding this character. The music than picks up when the clothes are being transferred and it hits a peak when the hair dye is being washed off. This peak in the music is the anticipation of the new ‘version’ of Marnie and what will occur from it, which is shown as this pretty blonde. 3) The only variation that I really noticed is that Hitch seemed to break the fourth wall, which might be his way of establishing his curiosity of Marnie to the audience, since this happens after she walks past him.
  6. 1) This scene has several instances of a romantic comedy opening. For instance, Mitch sensing that Melanie does not really work at the pet store, and giving her a hard time and amusing requests. We learn that Melanie is an upper class socialite that does not have a care or worry in the world and Mitch is some kind of businessman with a sarcastic sense of humor that takes revenge on those who are not truthful. 2) The sound design, specifically the birds, is used as a conversation starter about its occurrence and foreshadows the birds as being a big part of the later plot. The mood and atmosphere the bird sounds create is one of dominance and overpowering because the sequence has more bird sounds than human sounds. 3) Hitchcock’s cameo occurs when Melanie enters the pet shop and Hitch exits with two white dogs on leashes. This cameo does nothing, for me, in meaning besides add to the fact that this scene is set in more in an upper class area of the city.
  7. 1) For me, the score represents the main themes by sounding very hurried and anxious, like how Marion Crane is when she leaves Phoenix, which is conveyed perfectly with the string instruments. The graphics, even though straight lines, tells a lot about the main themes of this movie. I feel the lines mainly represent the travels of Marion from Phoenix to the Bates Motel because of the Interstate. I felt this also led to some of the anxiety of the beginning of the film because of the isolation of the interstate and having the thoughts she was having about her scenario with the money. 2) I think Hitch is trying to establish the specificity to sort of give accountability to Marion and her actions. Also, probably to show the relation of time between the thought of sneaking out of town and putting forth the plan to execute the thought. Hitch enters from behind the half-closed blinds to reiterate the voyeuristic feelings that the audience will feel when viewing this scene. This sequence reminds me of a cross between the scene outside Uncle Charlie’s apartment in Shadow of a Doubt and Jimmy Stewart’s neighbor-watching sessions in Rear Window. 3) This scene gives Marion the motive that establishes both her as a main character and the progression and purpose of the movie: the disparity to be with Sam and doing anything to fulfill it. If this scene was any different or did not exist, I could not say for sure if I would consider Marion a main character because of it.
  8. 1) Our pre-existing knowledge of Cary Grant and Eva Marie Saint creates meaning in this scene by reminding us that the insinuations and vagueness were typically of their character types when flirting. They were not the type to explicitly state anything, which I think adds to the sensual feeling of scenes like this, in addition to being a lure and drawing someone in. 2) It seems that the R.O.T. matchbook was used to create wonder in the mind of Eve Kendall. She seems intrigued at the fact that there could be more to Roger Thornhill than meets the eyes, which followed the exchange that the matchbook created. I find it interesting that something as simple as a matchbook could create such complexity in the mind of a character. 3) The sound design, in this scene, is quite delicate and simple. All that is heard is the train against the tracks and a light violin. I feel this addition of the violin shows us by sound the connection and flirtatiousness that Thornhill and Kendall are exhibiting visually on screen, which magnifies the attraction and emphasizes the importance of it to the storyline of the movie.
  9. 1) Based off this sequence, this movie, I think, would be about a surreal reality mixed with slight paranoia and the feeling of being watched or watching over your shoulder. This sequence tells me that everything will not look like it is supposed to be, and that everything will have several twists and turns in the search of a resolution. 2) The single most powerful image in the sequence, for me, is the close-up of the eye getting wider and turning red with the lissajous figure coming out of it. I picked this because this image tells me that one of the characters might be assuming the identity of someone that does not exist, but is hard to prove otherwise because of not knowing what is reality and what is not. In addition, the lissajous figure tells me that there will be obstacles in trying to find the true identity of this person. 3) Saul Bass’s images and Bernard Herrman’s score are perfect together. These two go back to Hitch’s love of visual storytelling for me because Bass’s images are visually showing what Herrman’s score is providing for the auditory senses. This sequence would not work with any other score. I feel that the images and score were made exclusively for each other and if they were mixed and matched with other images and scores, the effect would be completely lost because their purpose, to be together, would be lost.
  10. 1) I would describe the opening shot as a well thought out and smooth because it helps establish where the majority of picture will take place, who will be involved and from whose perspective we, the audience, will see it from. I would say that the vantage point might be that of an innocent spectator who lives in the same building as Jeff. 2) We learn a lot about Jeff in this scene. The information about his job, and possibly how he got injured, are shown to us through the broken camera and the pictures of race cars that are up close. We also learn that a favorite topic of his seems to be women, since there was an exposure of a woman’s portrait that sat next to the magazine where the picture came from and because several women are focused on in the movie itself: Ms. Lonely-hearts, Ms. Torso, Lisa, Lars’s wife, etc. 3) I do feel like I’m a peeping tom, when watching this scene. The reaction that Hitch’s methods elicit from me are that of wanting to turn away from the scenes and give those people privacy, but I also feel like I want to watch, like how Hitch talked about all people are pepping toms.
  11. 1) The obvious ones are that of the train tracks and the crosscutting of Bruno and Guy’s feet. Even though these may be obvious ones, I feel like they are quite effective because it acts as foreshadowing to their eventual meeting inside the train car, which is more apparent when the audience sees both men entering the same terminal. 2) The main way that I see the contrasting between Bruno and Guy is their clothing. Bruno is dressed in more attention getting clothes, with wing-tip shoes, while guy is, basically, in monochromatic clothing, making him less noticeable. Another way I see contrasting is through their dialogue and demeanor. Bruno is more relaxed and acts like a fast-talking salesman whose main motive is persuasion and manipulation when he smells a weak person, while Guy is more introverted and acts like he is trying to blend in with no intention of meeting or socializing with people on the train. 3) The Tiomkin score furthers shows the differences between Bruno and Guy. Even though the music for both is virtually the same, there are slight changes for each one. When Bruno exits his cab, the music is stronger in notation, compared to when Guy exits his cab, the music has a lighter and delicate notation in one area. The overall feel that Tiomkin’s score gives the opening sequence is that of which mimics the hustle and bustle of a train station and of people trying to make their boardings. You can hear the ‘hurry’ in the music, which I find quite effective in portraying the mood.
  12. 1) The first “touch” I see is right at the beginning of the scene, with the close-ups of Alicia. The way that it cuts from at the foot of the bed to right next to her remind me of the scene from “Shadow of a Doubt”, where hitch does the same cuts from outside Uncle Charlie’s apartment building looking at his window and then being right next to the window. The next “touch” I see is the POV shot of Grant that moves as Bergman is rolling on her back on the bed. The last “touch” is Devlin playing the recorded conversation of Alicia, which to me mimicked an auditory flashback, since the characters were the frame’s focus and there was no other sounds during the playing of it. 2) Hitchcock seems to frame, light, and photograph Ingrid Bergman in more of a less threatening way, where Cary Grant is the opposite. Both are photographed and framed relatively close up, but the lighting is what makes the difference. Bergman appears to be portrayed as indifferent and non-threatening, while Grant, probably from the perspective of Alicia, is portrayed as someone possibly threatening and irritatingly persistent; hence the black outline as our first visual of Devlin. 3) Based off this scene, I think that Ingrid Bergman’s persona is challenged, as is Cary Grant’s. Alicia is someone who seems to be dismissive and borderline belligerent, something not associated with Bergman, while Devlin is acting like a pursuer for professional reasons and not a charmer, which is something not associated with Cary Grant. Even though these personas are challenged in this scene, I feel like it give the actors an opportunity to flex their versatility muscles. Performers, like Bergman and Grant, are so easily put into one category that it makes the universal reason for these actors purpose, to be versatile with each character, seem like it is irrelevant to the business.
  13. 1) The touches that I notice are mainly camera shots. For me, the Hitchcock shots were the long, continuous ones, with minor cutting in between. Noting from the curation, this is an element that I feel could be a part of the ‘velvety’ feel of this movie. Mainly through the set, dialogue, and the interaction between the main characters and secondary characters, we learn that this ‘married’ couple is very in love with each other and that everyone else are not sure, except for Mr. and Mrs. Smith, of why they have been in their room for three days. The comedy in the dialogue reflects the confusion surrounding the Smiths’, especially when the lady who answers the phone, talks about how she is running out of dishes because of them. 2) I don’t think that this opening is typical because, to me, it looks and feels so much more complex and layered. There is more visual information that is given to the audience, and it is not quite as easy to put together into a conclusion as to what is going on, compared to the opening of “The Man Who Knew Too Much” where you can figure out the happenings almost immediately. And I feel that this could make it more engaging to watch because you have that sense of not completely knowing the happenings, which is another Hitchcock touch done subtly. 3) I think that Carole Lombard and Robert Montgomery are great together for many reasons. One of the main ones is that you wouldn’t expect people who look like Lombard and Montgomery to be in comedies, and this, for me, breaks molds that I feel actors often get put into, regardless of whether they have experience in that genre or not. So, it sheds new light on or reiterates the versatility of actors who might be typecast into a particular role based on looks or experience. For me, one main issue I have with pairs sometimes is that very few leading ladies can hold their own against the leading men, and Carole Lombard does great on being at the same level as Robert Montgomery, instead of him overpowering her. This makes their chemistry more powerful, makes the scene easier to watch, and the “Comedy of Remarriage” looks like it comes more naturally.
  14. 1) Even through this brief clip, we learn a great deal about Uncle Charlie and his history. Hitchcock shows us that Joseph Cotten is wanted for something because of him being tailed by the two men. He also shows us that Uncle Charlie might not be the most stable-minded person, with the fact of him talking to himself while watching the men on the corner. I almost feel like that Uncle Charlie can’t be trusted, while also feeling like I need to cheer him on. 2) The main thing that makes this opening feel like film noir is how it’s photographed and the accompanying music. The photography and lighting of this scene is quite spectacular. Shadows dancing across Cotten’s and his land lady’s faces makes mystery, while the music adds suspense and anxiety. I feel like this scene could come out of a detective movie or that a narration on what the character is feeling and thinking could come about at any moment. 3) Tiomkin’s score, I feel, does everything to set the mood, atmosphere and pace for this scene. Without it, the scene would nowhere be the same. The music starts the mood out lightly, and gradually makes the mood more suspicious when the two men come in the picture. The pace is also varying as well. One specific place was when Uncle Charlie was leaving the apartment building. The pace and tone felt like a rapid heartbeat with the music, and it conveyed some of the anxiety that Joseph Cotten was feel when he saw and started approaching those men.
  15. 1) One of the ways that this opening sequence differs from the others is that it starts out with a dream-like sequence that visually shows us what Joan Fontaine is describing in her narration and introduces Manderley to us for the first time. I almost feel like there was some personification t the house because the way it was photographed made me feel like it was living. Another difference is having the two main characters meeting right at the beginning. This exchange between Maxim de Winter and the future Mrs. De Winter shows me that Olivier’s character is not the most stable, due to the either possible suicide contemplation or revisiting where the first Mrs. De Winter might have met her end. 2) For me, the “touches” would be the photography, lighting, and use of possible extreme scenarios. The way that the flashback was photographed and how the house was backlit reminded me of how the exterior house scenes in “Psycho” were photographed, and Olivier’s character on the ledge reminded me of Jimmy Stewart’s character at the beginning of “Vertigo”. 3) This sequence makes Manderley look like the central figure in the story. From this, I can get the impression that all roads will lead back to Manderley. The structure of the sequence and the use of narration made me feel weary around the concept of Manderley because it gave the impression that it was a unsuspecting place, like a haunted house, or a place that has a grave history behind it; something that would give Manderley an unsettling appeal.
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