Jump to content
 
Search In
  • More options...
Find results that contain...
Find results in...

shamus46

Members
  • Content Count

    21
  • Joined

  • Last visited

Everything posted by shamus46

  1. For film scores, there are so many great talents. I think John Williams, Jerry Goldsmith, Danny Elfman and Howard Shore are proof that great composers are still creating fantastic movie scores. I love the Coen brothers work and think they would fit perfectly with writing and producing films that match Hitchcock's style. I don't know who the major story writers are today that are as prolific as Stephen King. Chandler and Hammett provided so many great stories brought to the screen, but, in my opinion, King's works just aren't portrayed as well as his written word. The new movies coming
  2. 1. How does the opening of Frenzy differ from the opening of The Lodger? Frenzy opens with a long shot to a crowd on the river side, when a body is discovered in the water. The Lodger opens with a scream, a body and a crowd gathering around. Essentially the same parts in the movie, just in different order. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. The long shot as in Rebecca's winding drive, a crowd, a body, a bit of humor with the speaker talking about cleaning up the pollution just before a body is found. The majestic score as the
  3. 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. She is a con-woman with multiple identities. In this scene she is shedding her character by throwing things in the gray suitcase that she is discarding. She neatly packs the items she intends to take with her. How does Hitchcock use Bernard Herrmann's score in this scene? The music is soft and captivating during the sorting of items but swirls and swells in crescendos as we see her face and her
  4. 1. 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? The flirting conversation between two young attractive characters. Melanie pretends she works at the pet shop since Mitch assumes she does. Mitch quickly finds out that she really doesn't know anything about the birds. They're both well dressed and look like they are well paid in their profession. 2. How does Hitchcock use sound design in this opening sequence? For example, how are the so
  5. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. How does the graphic design and the score introduce the main themes of this film? The intense staccato music score with high pitched strings and a rapid pounding beat add an intensity and an edge of your seat nervous quality, which when combined with Bass' design of rapid multi-lined graphics cutting into the titles /credits that make them appear sliced and disjointed, how perfectly it expresses the sudden decision by Marion Crane to embezzle, and the mental illness of Norman Bates to murder. As the titles end, we ha
  6. 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. Grant is a considered a suave well-dressed leading man that can sweep a woman off of her feet. Here, he is the one being "approached" quite blatantly by Saint. He is not accustomed to her directness, but is still enjoying the interplay...along with the audience. There is minimal action in this scene, so any deviation from the over
  7. 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. Both the sound and images gives the impression of troubled uneasiness. The music reminds me of Sci-fi films and the feeling of the unknown about to be revealed. Will it be threatening or an instance of beneficial revelation? The swirling images contribute to the unea
  8. 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? The vantage point is that of the audience, revealing our own voyueristic inclinations and piqueing our curiosity. We want to see more. What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock gives us Jeff’s backstory simply through visual design? As in other Hitchco
  9. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. Be specific. They both arrive in Diamond Taxi's but on opposite ends of the Train Station. Bruno walks from the right of the screen, while Guy walks from the left. The train tracks converge from the left then cross over to the right side. Even on the train, they walk in the same direction up until they sit and finally make contact. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Rob
  10. 1. What Hitchcock "touches" do you see in this early scene from the movie? The camera angles..tilted to upside down. Grant framed by the doorway and Bergman close-up in the bed. The ominous feeling of the scene. 2. 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? Grant is ominous in the shadow, framed by the doorway, well dressed. Bergman is disheveled in the bed, nauseated with slept-in clothes and hair a
  11. 1. What Hitchcock "touches" do you see in this opening sequence? The roving shot of the room. All the dishes and unkempt look. They are upper class with servants and have routinely stayed at home for days. 2. 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 agree. The music, with the flute, gives a light-heartedness to the scene and the panning shot leading up to the close-ups. The maid and cook discuss the couples actio
  12. 1. 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 is almost in a meditative state, considering his next move. Thinking about all he's done, his victims, and although he kills for the money, it means nothing to him. You can sense the inner turmoil and the increased anger boiling up in him. Restrained, but boiling. 2. In what ways does this opening remind you of watching a film noir? The brooding character and building of tension in the scene. Finding out that he's been found and realizing he needs
  13. 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? The scene is one of location instead of characters. First, the gate. then the drive encroached by nature, twisting and turning. What a great way to approach the scene of one of the main characters...Manderley. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? The scanning of the waves crashing, up the cliff to the figure of a man. The POV...the close-up of his face
  14. 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. Mostly comical with a flute playing and the people sitting quietly, while the concierge is on the phone. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. They add a disconnect to the whole picture as they discuss sports, the Hungarian National Anthem, and also add some tension becaus
  15. 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? By keeping his face hidden, we are more curious and drawn into what is taking place. We pay more attention to the audience and the humor of their questions. They are 'lower class' people that are out for some entertainment. This is similar to The Pleasure Garden except for the class of people. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing
  16. 1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? The characters are. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later in the film? He is friendly and engaging. 3. We saw two opening scenes from Hitchcock's silent films in the Daily Doses last week (The Pleasure Garden and The Lodger). How is this opening both similar and different from those two films' opening scenes. All open with a crowd and multiple
  17. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. The changes in the sound, from just idle banter by the woman, to sudden silence in the phone booth, heightens the viewers' attention to what is being said and what Alice is subconciously focusing on. You can sense her turmoil as she looks in the phone book and goes to the listing for the police. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, how does Hitchcock set up the shot where the kn
  18. The use of the POV shots can determine the focus of the story both emotionally and on the characters. The tension building while walking across the room, seeing the headmaster's stern look, the girls' body language. The looks on the boys faces showing the confusion, uncertainty and wariness for what is about to happen to them. Their realization when they see the girl. The close-up is used often to convey the emotional moment in all these films. Usually the look of shock and total surprise by the character.
  19. Using the motion of the dancers and the other party goers movements gives rhythm and increases the action. The spinning record with the elongated piano keys and revelers and the discordant music indicates how the fighter's jealousy has begun to consume his thoughts. He imagines his wife and the other man sitting closer together, growing larger (domination of jealous thoughts) and eventually 'sees' them kissing. The mirror allows them both to view each other and shows how their thinking evolves. The differences between the quiet room with his manager? discussing training and the loud party
  20. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Similarity: Fast paced action and audience / crowd reactions that get your attention and draws you into the scene / movie. Difference: The subject matter...humor vs dark forboding. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of
  21. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Quite distinctly. Using the audience's viewpoint and the shots of the leering men in the audience (the bored sleeping woman?) using binoculars to ogle their legs while sitting on the front row. His voyeurism was evident right from the start. The icy cool, indifferent blonde woman....signature Hitch. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? Definitely 3. Sin
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...